MUSIC  LIBRARY^ 

UN{V?:RSITY 

OF  CAUFOPNtA 

BEf?KELEY 


I 


{    $ITSON  &  OO.'S  STANDARD  OPERA  LIBRETTO. 


'^  LA  HUE  BV  RECIENT, 

COMPOSE»    BY  iBOWI^IETTI, 
WITH  ENGLISH  AND  ITALIAN  WORDS, 


a  : 


.  1  ! 


ai]ò  il]e  Iq.sic  of  il]e  f\^i}clp^\  ^H, 


m 


r^ 


yi 

^ 

"  ] 

This  Scries  of  Handbooks  includes  tlie  following  Operas  : 


LE     PROPHETE.  MEYERBEER. 

NORMA.  BEEMNI. 

IL    BARBIER«E    DI    SIVIGLIA.  ROSSINI. 

LUCREZIA     BORGIA.  DONIZETTI. 

LA    CENERENTOLA.  ROSSINI. 

LIMDA     DI     CHAMO   INIX.  DONIZETTL 

DER    FREYSCHUTZ.  WEBER. 

LUCIA    DI     LAMMERMOOR.  DONIZETTI. 

DON     PASQUALE.  DONIZETTL 

LA     FAVORITA.  DONIZETTI. 

DON     GIOVANNI.  MOZART. 

SEMIRAMIDE.  ROSSINL 

ERNANI.  VERDI. 

ROBERT     LE     DIABLE.  MEYERBEER. 

MASANIELLO.  AUBER. 

LA    SONNAMBU'-A.  BELLINL 

LA     ZINGARA.     (Bolumian  Ciri.)  BALFE. 


LA     FILLE    DU     REGIMENT. 

FIDELIO. 

L'ELISIRE    D'AMORE. 

LES     HUGUENOTS. 

I     PURITANI. 

I    CAPULETTI     E    MONTECC 

IL     FLAUTO     MAGICO. 

IL    TROVATORE. 

RIGOLETTO. 

WILLIAM     TELL. 

LA    TRAVIATA. 

MARRIAGE    OF     FIGARO. 

FRA    DIAVOLO. 

LUISA     MILLER. 

MARTHA. 

IL  GUIRAMENTO. 

LA  GAZZA  LADRA. 


HI. 


DONIZETTI. 

BEETIIO-VEN. 

DONIZETTL 

MEYERBEER. 

BELLINI. 

BELLINI. 

MOZART. 

VERDI. 

VERDI. 

ROSSINI. 

VERDI. 

MOZART. 

AUBER. 

VERDI. 

FLOTOW 

MERCADANTE. 

ROSMINI. 


ì^-»;- 


;r^f^'L.4 


il 

.  -!1  — 

»  ( 

BOSTOÌf:  %'■■ 

'■i*      PUBLISHED  BY  OLIVER  BITSO¥  Sr'jCO. 

977   TVASHINQTON    STREET.  ' ^  v 


r/C^ó 


V9 


rp> 


^ijplar  Cjjlkctkns  ut  Ducal  Uusic, 


PUBLISHED    BY 


2'7'7  •wj^simsrc3-T03sr  st BOSCDOisr. 


DITSON^S  EDITION  OF  STANDARD  OPERAS.  Comprising  the  following  :  P:rnani — 
Lucia  —  Lucretia  —  Norma  —  Sonnambula  — Traviata  and  Trovatore.  Each  $3.00. 

MOORE'S  IRISH  MELODIES.  With  Symphonies  and  Accomi)animent?,  by  Sir  John 
Stevenson.     With  a  Portrait  of  Moore.    Cloth,  full  gilt,  $3.00  ;  embossed,  $2.ù0  ;  plain,  $LòO. 

MENDELSSOHN'S  FOUR-PART  SONGS.  English  and  German  Words.  Complete 
copy.     In  cloth,  $LóO  ;  plain,  $L25.     For  Men's  Voices  only,  75  cts. 

OPERA  CHORUS  BOOK.  Containing  Trios,  Quartets,  Quintets,  Solos  and  Choruses. 
Selected  and  an-anged  from  the  works  of  Von  Weber,  Rossini,  JMeyeibeei-,  Bellini,  Benedict, 
Donizetti,  Mercadante,  Aubcr,  Balfe,  Verdi,  Bishop.    By  E.  L.  White  &  J.  E.  Gould.   $1.50. 

OPERA  (THE).  A  Collection  of  Trios,  Quartets  and  Choruses,  from  the  favorite  Operas. 
Published  in  Numbers,  for  the  convenience  of  Societies,  Conventions,  Glee  Clubs,  School  and 
Musical  Parties.     12  Numbers,  each  25  cts. 

OPERATIC  ALBUM.  A  Collection  of  Music,  in  Parts,  for  Ladies'  Voices.  By  E.  Ives, 
Jr.     67  cts. 

LYRIC  DRAMA  (THE).  A  Collection  of  Choruses  and  Concerted  Pieces,  from  the  prin- 
cipal Operas.  1.  Sonnambula.  2.  Norma.  3.  Lucretia.  4.  Lucia.  5.  Ernani.  G.  Tro- 
vatore.    7.  Traviata.     Each  50  cts. 

BEAUTIES  OF  CALEDONIA  ;  or,  Gems  of  Scottish  Song.  A  Collection  of  upward.^  of 
50  favorite  Scotch  Ballads.     With  a  Portrait  of  Robert  Burns.     Cloth,  $1.50  ;  plain,  $1.00. 

ONE    HUNDRED    SONGS    OF    SCOTLAND.     50  cts. 

ONE   HUNDRED   SONGS   OF   IRELAND.     50  cts. 

ONE    HUNDRED    COMIC    SONGS.     50  cts. 

SOUTHERN  HARP  (THE).  Sacred  and  Moral  Songs,  adapted  to  Popular  jSfelodies. 
With  Accompaniments  for  Piano  and  Guitar.     By  Mrs.  Dana.     $1.00;  cloth,  $1.50. 

NORTHERN    HARP.     A  conthmation  of  the  preceding.     $1.00  ;  cloth,  $1.50. 

PARLOR    COMPANION.     Songs  and  Instrumental  Pieces,  for  Voice  and  Piano.     $1.50. 

WESTERN    BELL    (THE).     A  New  Volume  of  Glees,  Quartets  and  Choruses.     $1.00. 

YOUNG   FOLKS'  GLEE   BOOK.     Songs,  Duets,  Glees,  &c.     $1.00. 

BOSTON   MELODEON.     Songs,  Glees,  Rounds,  Catches,  &c.     3  vols.,  each  $1.00. 

HOME  MELODIST.  A  Collection  of  Popular  Songs,  (Words  and  Music.)  Neatly  boui;.l  in 
muslin.     25  cts. 

GOLDEN   WREATH.     A  Collection  of  250  Popular  Songs.     30  cts. 

MASONIC  HARP  (THE).  Containing- over  400  Masonic  Odes,  Hymns,  Songs,  &c-.  With 
appropriate  Music.  Also,  the  Burial  Services  of  the  various  Degrees  and  Orders.  By  G. 
W.  Chase.  60  cts.  —  HARP  AND  MONITOR.  In  one  volume.  The  latter  containing 
the  Monitorial  Prayers,  Charges,  Explanations,  «fee,  used  in  conferring  the  Degrees  in  Lodge, 
Chapter,  Council,  and  Encampment.     75  cts. 


DONIZETTTS 


OPERA. 


U  FILLE  DI]  EEGIMENT. 


^vt       Vtn 


'-^-^^   2r|<  (sift'^. 


CONTAINING   THE 


ITALIAN   TEXT,   WITH   AN   ENGLISH   TRANSLATION, 


AHD 


€\t  Pttsk  of  all  t^e  f  rinripl  %xxb. 


BOSTON: 
PUBLISHED    BY    OLIVER    DITSON    &    CO., 

277  WASHINGTON   STREET. 


Entered,  according  to  Aci  of  Congress,  in  the  year  1859,  by 
.•-.  '  :  -■■    ':  5)nYÈp,  BITSON  '&  CO., 
In  the  Clerk's  Office  of  the  District  Court  for  the  District  of  Massachusetts 


I5I?,-a.:l^c-AuTis    i>Ei^soisr-ss. 


»  »■»  « 


MABIA,  the  "  adopted  Daughter  of  the  Begiment,"  but  really 

Daughter  of  the  Marchioness.  SOPRANO. 

STJLPIZIO.    A  Sergeant  in  the  French  Army.  BASS. 

MABCHIONESS  OP  BEBKENPIELD."   Maria's  Mother.  SOPRANO. 

TONIO.    A  Tyrolese  peasant  in  love  with  Maria.   Afterwards 


Colonel  in  the  French  army. 
OBTENSIO.    Intendant  of  the  Marchioness. 

GOBFOBAL. 

SOLDIEBS,  PEASANTS,  &C.,  &o. 


TENOK. 

BASS. 
BASS. 


THE      SCENE      18      LATO      IN      THE     TYROL     DURING     THE      INVASION     OF     THAT     COUNTRY 

BY      THE      FRENCH.    ; 


M52192 


A.  B.  XISDSB's  Hn«0  TTPOOBAPHT,  BOSTOW. 


ARGUMENT. 


The  scene  of  this  opera  is  laid  in  the  Tyrol,  during  the 
occupation  of  that  country  by  the  French. 

The  heroine  is  Maria,  a  vivandiere,  or  suttler,  called  the 
Daughter  of  the  Regiment,  because  she  had  been  found  in 
the  field,  after  a  battle,  by  Sulpizio,  a  French  serjeant,  by 
him  conveyed  to  the  encampment  of  the  11th  Regiment  of 
the  Grand  Army  of  Napoleon,  and  by  them  adopted  as 
their  daughter.  On  the  person  of  the  infant,  however,  was 
aflSxed  a  letter,  written  by  her  father,  a  captain,  and  ad- 
dressed to  the  Marchioness  of  Birkenfeld.  This  letter  the 
good  seijeant  carefully  preserved. 

At  the  opening  of  the  opera  the  foundling  has  grown  up 
to  a  sprightly  young  woman,  full  of  spirit  and  enterprise, 
the  delight  of  her  parent,  the  regiment,  and  the  especial 
admiration  of  Tonio,  a  Tyrolese  only  a  year  or  two  older 
than  herself,  who  has  saved  her  life  when  in  danger  of  fall- 
ing over  a  precipice.  He  asks  her  hand,  and  the  regiment, 
in  its  paternal  character,  assembles,  discusses  the  proposal, 
and  comes  to  the  conclusion  to  consent  to  the  match  on  the 
soldierlike  condition  that  Tonio  shall  enlist  into  the  regi- 
ment. To  this  Tonio  readily  consents,  and  all  seems  going 
as  the  course  of  true  love  has  been  said  never  to  do,  when 
the  Marchioness  of  Birkenfeld  appears  on  the  field.  Sul- 
pizio recollects  the  name,  and,  considering  himself  bound 
in  duty  so  to  do,  delivers  to  her  the  letter  he  had  found  on 
the  person  of  the  infant,  Maria.  The  Marchioness  well 
knows  the  handwriting,  declares  Maria  to  be  her  niece, 
haughtily  demands  her  of  her  more  loving  guardian,  the 
regiment,  and  dismisses  Tonio  as  wholly  unfit  to  be  con- 
nected with  any  one  of  her  highborn  family.  At  this  point 
of  the  story  the  first  act  closes. 

In  the  second  act  we  find  Maria  transferred  to  the  Castle 
of  Birkenfeld,  her  vivandiere  costume  rejected  for  habili- 
ments more  suited  to  her  changed  position,  and  masters 

\ 


about  her  to  eradicate  all  traces  of  her  military  antece- 
dents; but  with  a  result  not  quite  satisfactory  to  the  Mar- 
chioness. Accomplished  and  ladylike  in  her  bearing,  Maria 
undoubtedly  becomes  ;  but  she  sighs  for  her  former  free- 
dom, and  is  frequently  caught  in  the  act  of  singing  the 
joyous  Rataplan,  and  going  through  some  of  the  evolutions 
of  the  regiment — her  beloved  parent.  Still  more  deeply 
does  she  sigh  over  her  separation  from  Tonio.  While  these 
regrets  are  preying  on  her  mind,  the  sound  of  approaching 
drums  and  fifes  announces  the  advance  of  a  military  force. 
In  a  short  time  the  castle  is  in  the  possession  of  the  be- 
siegers, who  turn  out  to  be  the  gallant  Eleventh,  with 
Tonio  at  their  head,  who,  for  his  noble  conduct  throughout 
his  career  as  a  subaltern,  has  been  made  a  field-offlcer. 
Mutual  recognition  of  course  secures  the  safety  of  the  in- 
mates of  the  caetle,  and  Tonio  renews  his  supplication  for 
the  hand  of  Maria.  The  Marchioness  again  rejects  him, 
on  the  plea  that  she  has  promised  her  to  the  son  of  a 
neighboring  Duchess.  Tonio  proposes  to  Maria  that  she 
shall  elope  with  him,  and  she,  indignant  at  her  supposed 
aunt's  cruelty,  gives  her  consent.  This  coming  to  the 
knowledge  of  the  Marchioness,  in  order  to  establish  a  new 
claim  on  the  obedience  of  Maria,  she  reveals  to  her  the  facts 
that  in  early  life  she  had  contracted  wedlock  with  an  officer 
in  rank  so  far  below  the  aristocratic  expectations  of  her 
family,  that  she  had  found  it  necessary  to  conceal  the  cir- 
cumstance— that  the  officer  who  had  fallen  on  the  field,  and 
placed  the  letter  addressed  to  her  on  the  neck  of  a  child, 
was  her  husband — and  that  Maria  was  consequently  her 
daughter,  and  not  her  niece-  Maria,  who  had  refused  to 
obey  the  behests  of  her  aunt,  cannot  set  at  defiance  the 
wishes  of  her  recently  discovered  mother,  and  in  an  agony 
of  grief  she  renounces  Tonio.  But  her  suffering  and  devo- 
tion have  awakened  the  dormant  maternal  feelings  of  the 
Marchioness,  who,  declaring  the  happiness  of  her  daughter 
to  be  more  dear  to  her  than  earthly  grandeur,  she  consents 
to  the  union  of  Tonio  and  Maria. 


LA  FIGLIA  DEL  REGGIMENTO. 


(THE   DAUGHTER   OF   THE   REGIMENT.) 


ATTO    I. 


SCENA  I. — Alla  destra  una  casipola  ;  alla  sinistra  le  prima 
case  d'  una  Villaf/io  ;  da  lontano  delle  Montagne.  La.  Mar- 
chese di  BiRKENFELD  è  ossìsa  sopra  un  banco  rustico  alla 
sinistra.  Ortensio  sta  a  lato  di  lei.  Paesani  Tirolesi 
san  aggroppati  sopra  una  collinetta  didietro,  come  di  guardia, 
intanto  le  loro  moglie  e  figlie  si  sono  prostrate  avanti  in  ginoc- 
chio, verso  il  lato  sinistro,  innanzi  all'  Immagine  di  pietra 
della  Vergine. 

Coro. — Sulla  Cdonna. 
Arraiamci  in  silenzio. 

Ci  assista  l'ardir, — 
Che  l'oste  avversaria, 

Già  sembra  venir, 
Andiam  —  andiam. 

Coro  di  Donne,  in  Ginochio. 
Cielo  clemente. 
Cielo  possente 
Prostrate  a  te, 
Chiediam  consiglio 
In  tal  periglio 
Danne  mercè. 

Ort.      Ma  si  calma — via  Marchesa, 

Si  remetta  faccia  cor  ! 
Mar.    Da  nemici,  oh  Dio  !  sorpresa 

Qui — ad  un  tratto — è  un  vero  orror. 

Coro. — Un  Paesano  sulla  Montagna. 
Son  da  nemici  i  monti  abbandonati  ; 
Coraggio,  amici  miei,  siam  salvati  ! 

Coro. 
Eh  !  niente  paura 

Viva  il  piacer. 
La  lora  ventura 

Non  dessi  temer. 
La  pace  bramata 

Rallegra  ogni  cor, 
La  terra  salvata 
Rinasce  all'  amor. 
E  salvo  l'onor,  eh  !  niente  paura. 
Mi  viva  il  piacer. — La,  la,  la,  la  ! 

Mar.    Deh  !  mi  reggete  per  pietà — Ragazzi — 

Deh  !  non  m'  abbandonate. 
Ort.      E  che  poteva  immaginarsi  mai. 

Che  il  giorno  appunto,  in  cui  vostra 

Eccellenza,  di  Lauffen  rispettabile 

Marchesa,  al  nativo  Castel  volgea  le 

Spalle,  volesser  le  milizie  di  Savoja, 

(Abbandonando  a  un  tratto  le  frontiere) 

Le  marcie  ripigliar  ? 


SCENE  l.—On  the  nght  is  a  Cottage  ;  on  the  left  the  first 
Houses  of  a  Village  ;  in  the  background  are  Mountains. 
The  Marchioness  óf  Birkenfeld  is  seated  on  a  rustie 
bench  on  the  left,  Ortensics  standing  by  her  side.  Tyro- 
lese  Peasants  are  grouped  on  a  rising  ground  behind,  as  if  on 
the  look-out,  while  their  Wives  and  Daughters  kneel  in 
front,  towards  the  left  hand,  before  a  stone  Image  of  the 
Virgin. 

Chords — of  Men. 
Up  !  the  foe's  advancing  ; 

To  arms,  friends,  to  arms  ! 
For  home  'tis  we  battle  ! 
Who,  then,  will  shrink  from  war's  alarms  ! 

Chorus — of  Women. 
Santa  Maria, 

Gentle  and  holy. 
Lo,  lo  !  to  thee 

We  bend  in  pray'r  ; 
Maiden  and  mother. 

Behold  our  despair. 

Ort.      Take  heart,  I  pray,  my  noble  lady  ; 

Our  friends  approach,  and  soon  they  will  be  here. 
Mar.    Yes,  but  I  fear  the  enemy  is  closer  ; 

Those  sounds  ! — they  seem  so  very  near. 

Chorus — Peasants  entering  from  behind. 
Friends,  rejoice  ;  see'  the  French  retreating  : 
All  the  danger  is  past. 

,  Chorus. 
Rtìjoice,  brave  companions,  for  the  peril's  o'er; 
Their  star,  it  has  set,  and  it  rises  no  more. 
Peace,  life's  greatest  blessing, 

Returns  again  ; 
And  our  songs  of  triumph 
Sound  on  hill  and  plain, — 
The  heavens  be  praised  ! 
Our  country  is  saved,  and  no  more  shall  we  fear. 
But  happily  live  in  our  villages  here. 

Mar.    Alas  !  support  me,  for  pity,  my  friends  ! 
Alas  !  do  not  abandon  me. 

Ort.      And  who  would  ever  have  imagined 

That  precisely  on  the  day  on  which  your 
Ladyship,  the  honored  Marchioness  of  Laufen, 
Returned  to  your  native  place,  the  castle, — 
The  armies  of  Savoy  should  have  chosen 
(  Quitting,  at  once,  the  frontiers) 
To  resume  their  march  ? 


6 


LA  FIGLIA  DEL  REGGIMENTO. 


Mar.    Ma  che  far  deggio  ?  andar  innanzi — 

Oppur  tornare  addietro  1 
Ort.     Ma — Eccellenza — 
Mar.    Indagate — vedete — esaminate — prendete 

Lingua  in  somma  ;  e  la  vettura,  ditemi 

Ortensio — sarà  poi  sicura  ? 
Ort.     In  quanto  a  questo — 
Mar     Cha  fra  costoro  ad  aspettarvi  resto.     ' 

Entra  Sulpizio,  poi  Maria. 

Sul.      Corpo  di  mille  diavoli  ì  che  gambe  hanno  cotesti 

Svizzeri  ;  temono  della  guerra  ed  in  vece  abbiam  la 
Pace'sHl'paJmo  deila.raaiio*.'  IlnJogni  loco  sortito 
E  il  manifèsto — >ì  tulli  queìtó  li\ié  sdegnar  di 
Savo|a  seguitar  la  bandiera,  possocQ  rimanersi  e 
B,ftor.a«s^ft  "•'  -Malclù^Tiva  ?  -"•Scomltette  i  camerati 
Nó'dAw'eiìo— e  Maria*-*la  ^igCià  «ost'ra — 
La  perla  e  l'ornamento  dell'  undecime  invitto 
Reggimento.     Eccola  qua.     Veh  !  un  pò  s'ella  è 
Gentile  !    Più  felice  esser  puote  il  Reggimento, 
Che  tal  figUa  possiede  1 


Maria.  Il  Reggimento  mio  !  ne  vò  propria  superba  ! 

E  desso  che  ha  vegliato  con  affetto  paterno 

Agli  anni  miei  primieri  ! 
Svi.     Non  è  vero  1 

Maria.  Ma  poi — senza  adularmi — di  fargli  onore  io  credo. 
Sul.      Senza  dubbio  !  gentil  come  un  amore. 
Maria.  D'un  militare  io  chiudo  in  petto  il  core. 


Mar. 

Ort. 

Mar. 


Ort. 
Mar. 


Sul. 


But  what  shall  we  do  now  1  go  on. 

Or  turn  back  ? 

But — your  ladyship — 

Consider — see — examine — take  counsel  ! 

And  the  carriage,  tell  me,  Ortensio, 

Will  it,  then,  be  safe  ? 

As  to  that — 

Go — be  quick — 

I  will  await  you  among  those  people. 

Enter  Sdlpizio,  then  Mai^ia. 


A  thousand  devils  !  what  legs  those  Swiss  have  ! 

They  fear  war,  and  therofore  have  we 

Peace  thrust  upon  us.     Every  where 

The  manifesto  has  gone  forth — and  all  those  who 
disdain'd  , 

To  follow  the  standard  of  Savoy  may  stay  behind. 

And  farewell  to  them  !     But  who  comes  hither  ì 

I  guess  some  comrades — 

No,  indeed,  it  is  Maria,  our  daughter. 

The  pearl  and  ornament  of  the  unconquer'd  Twen- 
tieth. 

There  she  is.    Ah,  how  beautiful  ! 

Oh,  how  happy  is  the  regiment 

That  possesses  such  a  daughter  ! 
Maria.  My  regiment  !  I  am  proud  of  it  indeed  ! 

And  it  has  watched  with  paternal  affection 

Over  my  youthful  years. 
Sul.      Is  it  not  true  Ì 

Maria.  But  now,  without  flattery,  I  think  I  do  them  honor. 
Sul.      Without  question.     Thou  art  graceful  as  a  Cupid. 
Maria.  A  soldier's  heart  pants  in  my  bosom. 


APPARVI  ALLA  LUCE— THE  CAMP  WAS  MY  BIRTH-PLACE.    Aie.    Maria. 


,    Moderato. 


pj 


Ap  -  par  -  vi  al  -  la     lu  -  ce. 
The  camp  was   my  birth-place, 


Sul      cam   -   po   guer-rier  :      E      il    suon     del   tam  -  bu  -  ro.       Mio 
'Mongst  brave    men   and  free  ;   And  the  drum     is    the     mu  -  sic     Sounds 


so  -  lo    pia  -  cer,      mio    so  -  lo 
sweet-est    to     me,    sounds  sweetest 


pia  -  cer. 
to       me. 


S'af  -  fret  -    ta  al  -  la       glo 
I       march     with  the     fore 


■    ria      In   -  tre    -    pi  -  do  il 
most     When  dan  -  gers    in- 


,_ps 


=liiiiife^ii=^^i^llli^^i=i=g=il 


cor; Sa  -  vo  -  ja'e    vit  -  to  -  ria!    E  il      gri 

vite  ; The  fiere  -  er     the     bat  -  tie,    The    more 


do    d'o  -  nor, 
my    de  -  light. 


Sa  -  vo  -  ja,  e 
The  fiere  -  er 


vit  -  to- 
the    bat- 


mÉ^^^^^^^^^^mÉ: 


ria!        vit -to    -   ri   -  a!     è  il  gri 
tie,         the    bat     -    -     tie.    The  more 


do       d'o  -  nor, —    Sa  -  vo  -  ja,  e 
my      de  -  light.       The  fiere  -  er 


vit  -  to  -  ria, 
the      bat  -  tie. 


-P*-i 


vit  -  to  - 

the  bat  - 


,-^'^.- 


rial    è    il       gri-do  d'o 
Ue,      The     more  my  de 


-  nor, —  è  il  gri  -  do 
light,      The  more  my 


d'o   -   nor. 
de    -    light. 


LA  FIGLIA  DEL  REGGIMENTO. 


Sul.  Io  l'ho  educata, 

Non  e'  è  che  dire 
Con  quel  sentire, 

Con  quel  \'igor  ; 
Una  Duchessa 

Non  può  vantare 

Più  nobii  fare. 

Più  amabil  cor  : 

No! 

Oh  !  che  bel  giorno  fu  quel  che  il  cielo, 

Ancor  fanciulla  t'  offerse  a  me 
Quando  il  tuo  pianto,  turbò  il  silenzio 
Del  campo  intero  che  accorse  a  te. 
Maria.  Ognun  qual  padre  dolce  amoroso 
Sul  proprio  dorso  recommi  allor. 
Sul.     E  m'  era  il  sacco  di  munizione,  che  bel  di  ! 
Maria.  D'ogni  altra  culla  ben  più  miglior  ! 

Sul.     E  dolce  sonno  gustavi  allor. 

Mentre  il  tamburo  faceà  rumor. 
Maria.  E  dolce  sonno  gustava  allor. 

Mentre  il  tamburo  faceà  rumor. 

Or  poi  che  sono  più  grandicella 

Ciascun  la  mano  porta  al  bonnet. 
Sul.     E  la  consegna,  ragazza  bella, 

E  quest'  omaggio  dovuto  a  te. 
Maria.  Con  voi  divido  sul  campo  ognor 

E  strage,  feste  e  buon  umor. 
Sul.     Ed  ai  feriti  facendo  cor 

La  destra  stringi  del  vincitor. 
Maria.  Quindi  alla  sera,  alla  cantina 

Chi  v'  incorraggia  ?  chi  v'  affascina  ? 
Svi.     In  noi  chi  desta  letizia  e  ardir  ? 

Sei  tu,  sei  tu — ^non  e'  è  che  dir. 
Maria.  E  quindi  in  merto  del  mio  talento, 

A  voti  unanimi  il  reggimento 

Sua  vivandiera  mi  nominò. 
Sul.     Sua  vivandiera  a  voti  unanimi. 
Maria.  Ah  !  si. 

Il  reggimento  mi  nominò— 
Sul.     H  reggimento  ti  nominò. 
Maria.  Son  persuasissima  che  alla  battaglia 

Io  pur  cogli  altri 

Sapre'i  pugnar. 
Sul.  Saprai  pugnar. 
Maria.  Si — e  schioppi,  e  sciable,  bombe  e  mitraglia, 

Con  voi  pugnando  saprei  sfidar. 
Sul.      Oh  !  saprei  sfidar. 
Maria.  Se  un  figho  al  padre  dee  somigliar. 

Al  mio  somiglio. 
Sul.      Si — quest'  è  parlar. 
Maria.  La  gloria  voglio. 
Sul.     Benone  affé. 
Maria.  Io  vò  marciar. 
Sul.      Quest'  è  parlar  ! 
Maria.  En  avant — 
Sul.     En  avant. 

Maria.  Suol  l'undecimo  gridar — 
Sul.      Suol  l'undecimo  gridar. 
Maria.  En  avant — en  avant — 
Sul.     En  avant — en  avant. 


RATAPLAN— -RATAFLATH 


Sul.  'Tis  ali  my  doing, 

I  own  it  freely  : 
And  how  genteelly 
She  marches  on  ; 
No  duchess  ever 

Was  half  so  clever 
With  pike,  or  saber, 
Or  e'en  with  gun. 
How  we  then  rejoic'd  to  find  vou. 

On  the  battle-field — deserted  ! 
Each  eye  in  pity  look'd  upon  you, — 
•  Each  would  claim  you,  then,  for  his  own. 

Maria.  You  took  me  up,  and  bore  me  off. 

With  all  the  love  that  mothers  feel. 
Sul.      Glorious  day  ! 
Maria.  Yes,  and  then,  instead  of  a  cradle, 

I  was  rock'd  in  a  cap  of  steel. 
Sul.      In  which  you  seem'd  to  be  at  home. 

Sleeping  to  the  rolling  drum. 
Maria.  In  which  I  seem'd  to  be  at  home. 
Sleeping  to  the  rolling  dram. 

But  BOW,  my  friends,  I'm  older  grown — 
Sapperment  ! — they  all  salute  me  so. 
Sul.      Of  course,  of  course  ;  your  fathers  all 

^alute  a  militaire,  you  know. 
Maria.  On  days  of  feast,  in  battle's  tumult. 

Still  I'm  first  upon  the  field. 
Sul.     And  give  fresh  courage  to  the  wounded. 

Making  of  your  breast  their  shield. 
Maria.  And  then,  wto  is  it  o'er  the  goblet 

That  sings  at  evening  gay  and  wild  ? 
Sul.      Or  plays  a  thousand  tricks  upon  us  ? 

'Tis  still  the  reg'ment's  gallant  child. 
Maria.  And  better  yet,  to  try  my  talent. 

My  fathers  made  me  sutler  to  the  corps — 

There's  an  honor  ! — ne'er  conferred  before. 
Sul.     We  chose  you  by  general  consent. 
Maria.  Oh  yes  ; 

All  consented — sutler  was  I  nam'd  by  all. 
Sul.     All  consented — sutler  were  you  nam'd  by  all. 
Maria.  And  in  the  day  of  glorious  battle. 

When  cannons  "rattle, 

I'm  still  the  first. 
Sul.     She's  still  the  first. 
Maria.  Yes  !  I  fear  not  swords  nor  the  bullet. 

And  know  to  fight  like  one  of  you. 
Sul.     Ha  !  she  fights  like  one  of  us. 
Maria.  My  kind  father's  fame,  I  hold,  is  sacred; 

I've  made  it  more. 
Sul.     Ha  !  she  has  made  it  more. 
Maria.  And  in  the  field — 
Sul.     And  in  the  field — 
Maria.  I'm  still  the  first. 
Sul.     She's  still  the  first. 
Maria.  March  away — 
Sid.     March  away — 
Maria.  Where  the  guns  and  sabres  play — 
Sul.     Where  the  guns  and  sabres  play — 
Maria.  March  away — march  away. 
Sid.     March  away — march  away. 

Duet.     Màbia  and  Sulpizio. 


Ap-par-ve  alia  lu-ce, 
The  camp  was  her  birthplace, 


Sul  campo  guerrier.  Sul  cam-po  guer- 
'Mongst  brave  men  and  free,  'Mongst  brave  men  and 


8 


LA  FIGLIA  DEL  REGGIMENTO. 


suon,  del  tam-bur ro    mio    so  -  lo  pia-cer,       mio  so -lo    pia-cer,  Ra-ta-plan,  ra-ta-plan,  ra-ta- 

drum   is   the   mu sic  sounds  sweetest  to  me,  sounds  sweetest  to    me,  Rx-ta-plan,  ra-ta-plan,  ra-ta- 

..    -  S    M      »      1      m      m ^  3  -•-    3       .       .       8         • 


-#— ^— *— ^— ^-a 


'^^^^^^^^^^^^^^^^^^^^ 


?-£-i-*-5-5--?: 


ner. 
free; 


Su-on  del  tambur-ro, 
The  sound  of  the  drum 


suo  so-lo  suo  so-lo    pia  -  cer. 
sweet  music,  sweet  music  must  be. 


3 

-0 #- 


3 


\^ztzm=^—r- 


— ^- 


~a- 


—^—t > ; i/-T-.yi 

plan,  ra  -  ta  -  plan,   ra  -  ta  -  plan,  ra  -  ta-plan,  plan  plan.plan  plan,plan  plan,plan  plan,plan  plan,plan  plan! 
plan,  ra  -ta  -  plan,  ra  -ta  -  plan,  ra  -  ta-plan,  plan  plan,plan  plan,plan  plan,plan  plan,plan  planjplan  plan  ! 


m 


ra  -  ta- 
ra -  ta- 


ra-ta-plan,    plan  plan,  plan  plan,      plan  plan,  rataplan,  rataplan,rataplan,rataplan,rataplan,rata- 
ra-ta-plan,  plan  plan,  plan  plan,     plan  plan,  rataplan,  rataplan, rataplan, j-ataplan, rataplan, rata- 

T^~      -  «  -  -•-         -•-       -•-  -        '       -' 


plan,  rata-plan,  ra  -  ta  -  plan,  ra-ta-plan,  ra-ta-plan,  rataplan,plan  plan,  plan  plan.plan  plan,rataplrfn,rataplan,rata- 
plan,  rata-plan,  ra  -  ta  -plan,  ra-ta-plan,  ra-ta-plan,  rataplan  jplan  plan,  plan  plan  j)lan  plan, ratuplan, rataplan, rata- 


5i^zz5=5z=SE: 


:p: 


ZW=0 


En  a-vant — 
Then  advance- 

-0- -0-     -0 


ra-ta-plan,  ra-ta-plan,  march  ! 

ra-ta-plan,  ra-ta-plan,  march  ! 


ra-ta- 
ra-ta- 


^— ^ ^— ^^  - -P— ?- 

plan,  ra-ta-plan,  ra-ta-plan,  ra-ta  -  plan,  ra-ta-plan,  ra-ta-plan,  ra-ta-plan,  ra-ta-plan,  ra-ta-plan,  ra-ta-plan,  ra-ta- 
plan,  ra-ta-plan,  ra-ta-plan,  ra-ta  -  plan,  ra-ta-plan,  ra-ta-plan,  ra-ta-plan,  ra-ta-plan,  rata-plan,  ra-ta-plan,  ra-la- 


JZ± 


iJiziz 


•  F 


S^^^eU 


H 


J»-» 


W~0~ 


plan,  ra-ta-plan,  ra-ta  -  plan! 
plan,  ra-ta-plan,  ra-ta  -plan! 

I         ^  _t(_5— -~P-v-t--— -- 


Mi       chia    -    ma    1  o  -  nor  • 
For   faìne       and  for    hon 


P—0~ 


i^i 


-=^ 


V — »-t-F— I p- 


plan,  ra-ta-plan,  ra-ta-plan  !-E  il  suo  grido,  il  suo  grido  d'o-nor. 
pian,  ra-ta  pian,  ra-la-ptlan  !  Rataplan,  'tis  the  roll  of  the  drum. 


-0 
III 
V-J-'- 

Sa  -  vo  -  ja  vit  -  to-ria  e  suo 
It  leads  us  to     lion    -   oi\ 


chia  -  ma      I'o  -  nor, 
fame,    and      re-nown! 


pre-sent! 
present  ! 


feES: 


v-z^;m-^^-- 


1 


—0 — 0 — — 

-, H h- 


0—01 

7~- 


gri    -    do    d'o-nor.    Vi  -  van  -  die  -  ra    del   reg  -  gi  -  men  -  to,  plan,  plan,  ra  -  ta-plan,  ra  -  ta-plan,  ra-ta- 
fame,    and      re-nown.     Vi  -  van-diere    be-lov'd    by    our    reg'ment,  plan,  plan,  ra -ta-plan,  ra -ta-plan,  ra-ta' 


LA  FIGLIA  DEL  REGGIMENTO. 


9 


march  ! 
march  ! 


^^         i=znbi:t^::L?:i:gi=gi_*iz*zr^*zz*z 


Sargen  te  del  Reggi-mento. 
The  Regiment  is  my  glory  ! 


ÌÌ=:^='=5E^^=b=^g3±Ìa3=:z5|ìr^^= 


En  a-vant   ra-ta- 
Then  advance,  ra-ta- 


plan.  En  a-vant,  en  a  -  vant,  ra-ta-plan,  en  a-vant,  ra-ta-plan, 
plan.  Then  advance,  then  advance,  rataplan,  then  advance,  rataplan. 


present! 
present , 


a  -  vant,  Ra  -  ta-plan, 
advance.  Ha  -  ta-plan, 


J 


ta-plan,  En  a-vant,  en  a-vant,  en  a  -  vant  ! 
ta-plan.  Then  advance,  then  advance,  then  advance  ; 

:tjzz?:|z±r^: 


i 


pzzpzzpzz^zzp=|czl7:zp-? 

:t2-t;i^z=;;i_;2: 


a-vant,    Ra  -  ta-plan,  ra 
advance.  Ma  -  ta-plan,  ra 


_-_;;z_t7. 


ta  -  plan,  En  a-vant,  en  a-vant,  en  a-vant!  E  il  suo  giudo,  il  suo  grido  d'o- 
•  ta'plan,Then  advance,then  advance,then  advance, Rataplan, 'tis  the  roll  of  the 


_#,_«_zr^_, — 

if—ni — I — h—f-  -I — F— #■ 


T==f=- 


:EzÈtE3E:f::i 


Mi    chia    -    ma 
or,   fame,     and 

■-M- 


I'o-nor! 
renown  I 


S±EE-E3E: 


Sa 
It 


vo  - 
leads 


ja 


vit 
to 


to  -  ria!    E  suo    gri   -   do 
hon  -     or,    fame,    and 


d'o-nor. 
renown. 


Recitativo. 
Sul.     No,  no,  Maria  ;  non  va  ben  :  da  noi 

Tu  fosti  adottata,  protetta  ed  allevata, 

Colle  nostre  mensile  economie  ; 

E  ci  devi  riguardo  e  confidenza. 
Maria.  Ma,  Sulpizio,  mio  caro,  abbi  pazienza. 
Sul.      Abbila  tu  pur  ora,  e  stammi  attenta  ; 

Sai  che  non  f  ìi  possibile  scoprir  la 

Tua  famiglia,  il  tuo  paese,  in  onta 

Ad  una  lettera  trovata  sii  di  te  : 

Riposta  quindi  nel  fondo  del  mio  sacco 

A  posto  tìsso,  e  che — 
Maria.  Ma  se  so  tutto  ? 
Sul.     E  perchè  dunque  soletta  e  pensierosa. 

Sorti  dalla  cantina  fuggendo  i  camerata, 

Eh? 
Maria.  Perche  ? 
Sul.      M'han  detto  che  nell'  ultimo  nostro  accampamento 

T'han  sorpresa  in  colloquio  con  un — ma  non 

Sarà,  vero. 

Maria.  Anzi  è  la  verità — sparlo  sincero — con  un 
Giovine  Svizzero,  gentil,  garbato,  e  che  mi 
Tolse  un  giorno  da  sicuro  pericolo  :  ma  pure 
Tutto  adesso  è  finito  ;  egli  è  là — noi  slam  qua. 

Sul.  1  Udendo  rumore.  |   Che  cosa  è  stato  ì 
Cos'  è  questo  rumore  indiavolato  ì 

Entra  Caporale  e  Coro. 

Coro,  i  Avanti  ;  andiamo — tutto  si  sa. 
Cap.  \  Fra  noi  ti  spinse  curiosità. 
Maria.  [Aparte.]  Che  vedo  !     Oh  del,  è  lui  ! 
Sul.      Sia  tratto  altrove. 


Recitative. 

Sul.     No,  no.  Maria  ;  it  is  not  well  :  by  us 

You  were  adopted,  protected,  and  brought  up, 

By  our  little  savings  on  the  passing  month  : 

And  you  owe  to  us  regard  and  confidence. 
Maria.  But,  my  dear  Sulpizio,  be  patient. 
Sul.      Have  patience  yourself,  this  time,  and  attend  to  me  : 

You  know  that  it  was  not  possible  to  discover 

Your  family,  your  country,  although 

A  letter  was  found  upon  you  ; 

It  now  lies  at  the  bottom  of  my  knapsack, 

Safely  kept  ;  and  that — 
Maria.  But  suppose  I  know  all  this  1 
Sul.     And  why,  then,  lonely  and  pensiye. 

Do  you  leave  the  canteen,  and  quit  our  society, 

Ehi 
Maria.  Why  ? 

5m/.      They  have  told  me  that,  when  we  were  last  en- 
camp'd. 

They  surprised  you  in  conversati  jn  with  a — but  no, 

It  cannot  be  true. 
Maria.  It  is  even  true — I  make  no  concealment — 

With  a  young  Swiss,  handsome,  agreeable,  and  who 

Rescued  me  once  from  certain  danger  ;  but,  indeed. 

All  that  is  over — he  is  there — we  are  here. 
Sul.  [Hearing  a  noise.]   What  noise  is  that  1 

What  is  that  diabolical  noise  ? 

Enter  Corporal  Spontoon  and  Chorus. 

Cho.    1  Forward,  go  on — all  is  known  ! 

Corp.  \  Among  us  we  punish  curiosity. 

Maria.  [Aside.]  What  do  I  see  1     0  heaven,  'tis  he  ! 

Sul.     Let  him  de  dragg'd  hence. 


10 


LA  FIGLIA  DEL  EEGGIMENTO. 


Marta.  [At  Soldati.]  Fermate  ! 

I Sotto  voce  a  Sulpizio.]  E  lui  ! 
)avvero  !  lo  straniero  che  t'  ama  ? 
Tonio.  [Fissando  Maria.]  Ah  !  pel  mio  core  qual  trasporto  ! 

Maria.  [Piano  a  Tonio.]  E  che  mai  vi  guida  a  noi  1 
Tonio.  Posso  cercarvi,  0  cara — altri  che  voi  ? 
Coro.   E  un  briccone,  un  villanzone, 

Che  qui  venne  a  specular  ; 

Ma  gagliardi  Savojardi 

Ci  sapremo  vendicar. 
Maria.  [Precipitandosi  in  mezzo  ai  Soldati.] 

Un  istante  amici  miei 

Deh  !  cedete  al  mio  desir. 

Che  !  la  morto  a  colui  che  mi  salvò 

La  vita  ■? 

Che  dice  ? 

Ha  il  ver  parlato. 


Coro. 
Sul. 
Coro.  ] 
Cap.  \ 
Maria 


Questa  parola  ha  il  suo  destin  cangiato. 

D'un  precipizio  in  fondo,  io  stava  per  cader  ; 
Ei  m'  a  salvata  esponendo  i  suoi  giorni, 
Volete  ancor  eh'  egli  perisca  ? 


Sul. 


No,  dawer  !' 

S'  ella  è  così  mio  bravo  camerata, 

Sii  nostro  amico. 
Tonio.  [Tendendogli  la  mano.]  E  il  voglio 

Che  così  potrò  allora  avvicinarmi 

A  lei  che  1'  alma  adora. 
Sul.     Or  via  per  festeggiar  il  salvator  di  questa  amabil 

Figlia  beviam  !     Trinchiam  al  suo  liberator  ! 

Coro.  Trinchiam  al  suo  liberator  ! 

Sul.     In  guo  il  rum.  [A  Maria.]  E  festa  di  famiglia. 

Coro.  E  festa  di  famiglia. 

Sul.     Si  trinchiamo  alla  Svizzera,  alla  natal  tua  terra. 

Tonio.  Oh  no  !  giammai  !  rompo  più  tosto  il  mio  bicchier  ! 

g-;JE  pazzo. 

Tonio.  Viva  Italia  !  e  i  nuovi  amici  miei  ! 
Sul.    ) 

Coro.  \  Viva  dunque  Italia,  e  tu  con  lei  ! 
Cap.  ) 

Sul.     Perchè  la  festa  sia  completa,  intuona. 
Figliuola  mia,  la  nostra  ronda  usata. 
Coro.  Del  Keggimento  è  la  canzon  piti  grata. 


Maria.  [To  the  Soldiers.]  Stay  ! 

[Aside  to  Sulpizio.]  'Tis  he  ! 
Sul.     Indeed  !  the  stranger  that  loves  you  ? 
Tonio.  [Looking  at  Maria.]  Ah,  in  my  heart  what  transport 

reigns  ! 
Maria.  [Aside  to  Tonio.]  And  what  ever  led  you  to  us  ? 
Tonio.  Can  I  seek,  dearest,  any  other  than  you  1 
Cho.     He's  a  rogue,  a  peasant, 

Who  came  hither  to  spy  ; 

But  the  gallant  Savoyards 

Well  knew  how  to  avenge  themselves. 
Maria.  [Throwing  herself  into  the  midst  of  the  Soldiers.] 

One  instant,  my  friends, — 

Ah,  yield  to  my  wish. 

What  !  death  for  him  who  saved  my  life  Ì 


Cho. 
Sul. 
Cha.  Ì 
Cor.  \ 

Maria. 


Sul. 

Tonio. 

Sul. 


Cho. 
Sul. 


What  says  she  ? 

She  has  spoken  the  truth. 

That  word  has  chang'd  his  destiny. 

,  I  was  near  falling  from  the  top  of  a  precipice  to 
the  bottom  ; 

He  saved  me  by  venturing  his  own  life. 

Is  it  yet  your  will  that  he  should  perish  t 

No,  indeed  ! 

If  it  be  as  you  say,  let  the  brave  fellow 

Become  our  friend. 

And  I  will,  [Extending  his  hand  to  them,]  that  so  I 
shall  then  be  able  to  approach  her  whom  my 
soul  adores. 

And  now,  the  saviour  to  welcome 

Of  this  our  amiable  daughter,  let  us  drink. 

Let  us  drink  the  health  of  her  deliverer  ! 

Let  us  drink  to  her  deliverer  ! 

Pass  round  the  wine.  [To  Maria.]  It  is  a  family  fes- 
tival. 

It  is  a  family  festival. 

Drink  thoj^  to  Switzerland,  thy  native  land. 
Oh,  no  !  never  !     Sooner  would  I  break  my  glass. 


'  Is  he  mad  ? 


Cho. 

Sul.^ 

Tonic. 

Cho. 

Cor.  . 

Tonio.  Long  live  Italy  !  and  my  new  friends  ! 

Sid.  \ 

Cho.  (  Long  live  Italy,  then,  and  you,  too  ! 

Cor.  ]    - 

Sul. 


Cho. 


That  the  festival  may  be  complete,  sing, 

My  daughter,  our  usual  round. 

Ah  !  sing  to  ns  the  song  of  the  Regiment. 


CIASCUN  LO  DICE ^ALL  MEN  CONFESS  IT.    Aie.    Maria. 


Maestoso. 


mm^m 


Ciascun  lo     di  -  ce. 
All  men  con-fess   it, 


Ciascun  lo    sa! 
Go  where  we  will  ! 


E  il  Keg-gi  -  men-to      Ch'e 
Our  gallant  Twentieth    Is 


guai  non    ha. 
wel  -  come  still. 


II  sol  cui 
Landlords, when 


^^^^m^^^m^-^mmi^M 


cre-di-to    Con  a-mis-tà, 
sur  -  li-est,    To  us  are  kind, 


Fac-cian  le   bet  -  to-le 
Aiid  when  we're  merriest 


Del    -    la    cit  -  tà.      Il  Reg-gi-men-to      Che  o'vimque 
They    then  are  blind.  Husbands  and  lovers,  They  dread  our 

Vivace. 


•^  „r,<1^.  Mn-ri  -ti  P.  ftTiian  -  ti    Di-san -i-mò,     Del  -  la  bel  -  tà,     oh  !  ben  supremo  !     Eg-li  è        la,  eer-Ii  è  la.  Eir-li 


-     -      .    -P- 
andò;  Ma-ri-ti  eaman-ti     Di-san  -  i-mò.     Del  -  la  bel  -  tà,     oh  !  ben  supremo  !     Eg-li  è        la,  eg-Ii  è  la,  Eg-li  e 
sight  ;  But  oft  /  the  fair,  We  are  their  delight,  We  are  their  delight,  we  are  their  delight,    They  are  here,they  are  here.  With 


LA  FIGLIA  DEL  REGGIMENTO. 


11 


mf^^m^^s^^^^f^^m 


là  dav-ver:     Ve-di  -  là,     eg-li  è     là     Eg-li  è    là,      si      si;    Eg-li  è   là,       eg-li  è      la,        Dubbio  non  v'ha; 
sword  and  spear;  They  are  here,  they  are  here,  With  sword  and  spear,  They  are  here,  they  are  here,  With  sword  and  spear; 


-Jtz^ 


I'un    de  -   ci  -  mo  che  e-gual      non   ha; 
brave  Twen  -  ti  -  eth,    none    are      like  them  : 


^' 


.- V- 


i-T r^-ft~j-0—^ 

— K — 0-+-M h h-T-| • — ir 

-- 1 1 — +-r — l^ — K^-+ ?- 


Coro.   Egli  è  il  davver  !  vedila,  si, 

Ecco  l'undecimo  eh'  egual  no  ha. 


Tonio.  Viva  l'undecimo  ! 

Sul.     Silenzio,  silenzio  ! 

Aria — Maria. 
Tante  batta  glie 
Ei  guadagnò. 
Che  il  nostro  principe 

Già  decretò. 
Ch'  ogni  soldato, 

Se  in  salvo  andrà, 
Generalissimo 
Diventerà. 
I  Perch'  egli  è 

Questo  il  reggimento, 
A  cui  sia  facile 

Ogni  cimento. 
Che  un  sesso  teme. 
Che  l'altro  adora. 

Egli  è  la,  &c, 
[Odisi  un  hntano  mono  di  tamburo. 

Recitativo. 

Sul.  [Ai  Soldati.]  E  1'  ora  dell'  apello  ; 

Andiamo  e  non  si  scherzi  con  il  regolamento. 

Maria,  i  .  u 

rr    ■     f  Ah,  se  ne  vanno. 

Ionio.   ]       ' 

Sul.  [A  Tonio.]  E  tu  ragazzo — ^via  di  qua. 

Maria.  Egli  è  nostro  prigioniero,  e  d' lui  noi  rispondiamo. 

Sul.  [Piano  a  Maria.]  Ma  non  io.  Signorina  !     _   _ 

[A  Tonio  che  viene  consegnato  a  due  Soldati,  ì  quali  lo 

conducono  via  per  la  montagna. 

Andiamo,  andiamo. 

Coro — Sulpizio,  Caporale,  e  Coro. 
Tal  volta  è  un  poco  duro 

Piergarsi  ed  obbedir. 
Ma  suona  già  il  tamburo. 

Pian  e  devesi  servir. 
In  tempi  cosi  strani 

Niun  bada  più  al  dolor, 
Pugnando  all'  indomani. 

Porse  si  vince  o  muor,    . 
Ma  suona  già  il  tamburo 

E  devesi  servir. 

[Exeunt  Sulpizio,  Caporale,  e  Coro. 

Maria,  poi  Tonio. 

Maria.  L'hanno  condotto  seco  ;  ed  io  che  avre  cotanto 

Volontier  con  lui  parlato  !    Povero  giovinetto  !  per 
Vedermi  esporsi  in  questa  guisa  ! 


Tonio.  [Correndo  dalla  montagna.]  Signorina! 
Maria.  Ma  come  ! — siete  voi  ? 


Ec  -  co   l'un   de  -  ci^-  mo,  che  e-gual  non  ha. 
See   our  brave  Twen-ti  -  eth,    none  are   like  them. 

Che.     Hear  the  drum  ! 

They  come,  they  come  ! 

Here  in  your  land  they  pitch  their  tent, 

The  gallant  Twentieth  Regiment. 
Tonio.  Long  live  the  regiment  ! 

The  Twentieth  regiment  ! 
Sul.     Be  still — be  silent  ! 

'SoKG — Mnna.     [Resumed.] 
Highest  and  lowest. 

Heroes  are  we  ; 
Any  amongst  us 

Marshal  may  be. 
Foremost  in  victory. 

Last  in  retreat. 
Death  we  can  suffer. 

But  not  defeat. 
First  in  the  battle, 

First  in  the  dance, 
The  brave  hussar, 

With  sword  and  lance. 

They  are  here,  &c. 
[The  sound  of  a  distant  drum  is  heard. 


Recitative. 
Sul.  [To  the  Soldiers.]  It  is  the  hour  of  roll-call  ; 

Let  us  go,  and  not  trifle  with  the  regulations. 

ToSo.'  \-^^>  *^®y  ^^  Soing  ! 

Sul.  [To  Tonio.]  And  thou,  young  man,  away  from  hence. 
Maria.  He  is  my  prisoner,  and  I  will  answer  for  him. 
S^d.  [To  Maria.]  But  I  will  not,  my  little  lady — 

[To  Tonio,  who  is  placed  under  guard  of  two  Soldiers, 
and  led  away  toivards  the  mountains.] 
Awaj  !  away  with  you. 

Chorus — Sidpizio,  Corporal,  and  Chorus. 
This  course  is  rather  severe. 

To  carry  him  away  ; 
But  already  the  drum  beats; 

And  we  must  obey. 
In  times  so  strange  as  these, 
No  one  thinks  much  of  grief; 
Before  to-morrow,  while  fighting. 
Perchance  we  conquer  or  die. 
But  already  the  drum  sounds. 

And  we  must  obey. 

[Exeunt  Sulpizio,  Corporal,  and  Chorus. 

Maria,  ajlerwards  Tonio. 

Maria.  They  have  led  him  away  with  them  ; 

And  yet  I  wished  so  much 

To  have  spoken  to  him. — Poor  young  man  ! 

To  have  exposed  himself  to  such  danger  for  the  sake 
of  seeing  me  ! 
Tonio.  [Running  down  from  the  mountain.]  Fair  lady  ! 
Maria.  How  ! — Is  it  you  Ì 


12 


LA  FIGLIA  DEL  REGGIMENTO. 


Tonio. 


Maria 
Tonio. 

Maria 
Tonio. 
Maria 
Tonio. 
Maria. 


Tonio. 

Maria 
Tonio. 
Maria 
Tonio. 


Maria 


Tonio. 


Essi  han  creduto  eh'  io  li  seguissi  ;  eh  si  1 
Non  son  venuto  per  chiacchierar  con  esse  che 
Non  sono  gentile.    Affato  quel  vecchio  poi- 
vecchio  ? 
,  Egli  è  mio  padre. 

Il  vecchio  1 — allor  mi  son  sbagliato. 
E'  1'  altro  ? — quel  piccolino  ! 
,  Egli  è  mio  padre  anch'  esso. 
Anch'  esso  1 — Gli  altri  adunque. 
,  E  gli  altri  pure. 

Che  diamine  !     Ne  avete  un  reggimento  ? 
,  E  appunto  :-^il  reggimento  è  il  mio  padre 
Addotivo  ;  e  lor  deggio  il  mio  stato — 
L'  educazione — tutto  in  somma — tutto. 
E  dipendo  da  lor  unicamente  ;  ma 
Dite  finalmente  che  volete  da  me, 
Qual  mai  segreto  vi  condusse  fra  noi  1 
Egli  è,  eh'  io  bramo  tutto  aprirvi  il 
Mio  cor — egli  è  che  v'  amo. 
,  ,Che  ?  voi  m'amate  1 
Non  ci  credete  ?  udite  poi  decidete. 

Vediam,  udiam  ;  ascoltiam  e  giudichiam. 
Da  quell'  istante  che  sul  mio  seno, 
Io  vi  raccolsi  venuta  meno  ; 
L'immagin  vostra  dolce  e  vezzoza, 
Non  mi  da  posa  la  notte  e  il  di. 

Ma  carin  quest'  è  memoria, 
E  memoria  e  nulla  piti. 


-quel 


No  non  è  tutto — e'  è  di  peggio, 

Si  mia  cara — e'  è  di  piìi. 
Maria.  Vediam,  udiam  ;  ascoltiam  e  giudichiam. 
Tonio,  Il  bel  soggiorno  de  tempi  andati. 

Tutti  gli  amici  cotanto  amati. 

Per  voi,  Maria  ! — Sin  d'or  lo  sento  ; 

Senza  tormento  potrei  lasciar. 
Maria.  Ma  una  tale  indifferenza, 

E'  impossibil  perdonar. 
Tonio.  E  finalmente  da  voi  lontano, 

Tanto  la  vita  fu  in  odio  a  me  ; 

Che  sfidar  volli  furente  insano  ; 

La  morte  stessa — ma  al  vostro  pie  ! 
Maria  e  Tonio. 

Ah  !  eh'  io  lo  so  !  lo  capisco  !  anch'  io  ! 

Ma  i  giorni  dennosi  amico  mio. 

Per  quei  che  s'amano  assicurar. 


Tonio.  They  thought  I  should  follow  them  ;  but  I  did  not 
come  to  gossip  with  them,  who  are  in  fact 
scarcely  civil.     Yet,  that  old  man — ^who  is  he  ? 

Maria.  He  is  my  father. 

Tonio.  That  old  man  ? — then  I  am  mistaken. 

And  the  other  ? — that  little  fellow  ! 
Maria.  He  is  my  father  also. 
Tonio.  He  also  !     And  the  others  "? 
Maria.  And  tlie  others  as  well. 

Tonio.  The  deuce  !     Have  you  a  regiment  of  fathers  1 
Maria.  I  have  : — by  the  wliole  regiment  was  I  adopted, 

And  to  them  I  owe  my  present  position — 

My  education  ; — in  fact,  all — everything  ; 

And  I  depend  entirely  on  them. 

And  tell  me,  now,  what  do  you  wish  from  me — 

What  secret  motive  has  brought  you  among  us  1 
Tonio.  It  is  that  I  wish  to  open  all 

My  heart — it  is  that  I  love  you  ! 
Maria.  What  ? — you  love  me  ! 

Tonio.  Do  you  not  believe  me  1   Hear  me,  and  then  decide. 
Maria.  Let  us  hear  and  see — let  us  listen  and  judge. 
Tonio.  From  the  instant  when  to  my  bosom 

I  clasped  you,  reviving  from  affright, 

Your  fair  and  lovely  image 

Has  left  me  no  repose  by  night  or  day. 
Maria.  [Coquettishly.]  But,  ray  dear  little  friend,  this  is  a 
recollection  ; — 

And  nothing  more. 
Tonio.  No,  indeed,  it  is  more  than  a  mere  recollection  : 

It  is  true  love.  , 

Maria.  Let  us  see  and  hear,  and — 
Tonio.  The  beautiful  abode  of  past  days, 

And  all  the  friends  so  much  beloved, 

For  you,  Maria,  I  feel, 

Without  regret,  I  could  leave  them  all. 
Maria.  But  such  indifference  as  that 

It  is  impossible  to  forgive. 
Tonio.  I  could  not  live  without  you,  dearest  ; 

It  were  pain  worse  than  death  itself  ; — 

Hence,  defying  all,  I've  ventur'd  here. 

Let  them  now  do  their  worst — I  have  seen  you. 


ENSEMBLE. 


Maria.  Say  not  so, 

Say  not  so  :  pray  forbear  ;  pray 
forbear. 

He  who  loves  as  he  ought,  re- 
spects his  life, 

For  the  sake  of  her  he's  wooing. 

]fou  understand,  I  hope. 


Tonio.  I  have  pross'd  once  again 

your  hand, 
And  should  die  now  contented  ; 
Yes,  should  die  most  happy, 
BIy  dear,  my  best  Maria. 


A  VOTI  COSI  ARDENTE— NO  LONGER  CAN  I  DOUBT  IT.    Duet.     Maria  and  Tonio. 

allegretto. 


— 3:-^_i 0 ^ X 


vo   -  ti 


CO  -  si  ar-den 


No   long  -  er      can      I  doubt    it  ! 


aa*  *  •+ — ' 1 \ Nt — N — *j — S* 

(•V-  F-+-0 — g — J — ■y+ — 1-— ^ — n^-j 


Non     sen  -  te     che  1' a-mor;    Si    1' a  -  mor,  si    I'a-mor,    si     I'a-mor. 
Oh,     yes,    it     beats  for  thee;  Yes,  for  thee — yes,  for  thee  —  yes,  for  thee. 


— 0—jr^ 
A     vo  -  ti    co-si  ar- 
No   long-er   can    I 


3 


p_LE__H — U — ■    '     — i^zzztjZH* —     t_C  'z^* — ' — Ci    — » — ^ '-4—1 1 II'-  TOZ^Z 


den-£e!      II  te  -  ne -ro  suo  cori 

doubt  it  !    Her     heart  is  giv'n  to  me  ! 


Si     mon-stre-ra  cle-men  -  te 
And  mine, too, beats  responding,— 


Al     pre-go  dell'  a-mor,  si  dell'  amor. 
Oh  yes,  it  beats  for  thee — oh  yes,  for  thee. 


LA  FIGLIA  DEL  REGGIMENTO. 


13 


Eecitativo. 
Tonio.  Cara  voi  ben  vedete  ma — v'ama  sol. 

Maria.  Si?  decidete. 

Tonio.  Vediam,  udiam,  ascoltiam  e  giudichiam. 

Maria.  Ci  vetta  un  tempo  felice  e  lieta, 

Di  niun  amante  sentia  pietà  ; 

Ma  l'alma  adesso  turbata,  inquieta — 

Sa  che  v'è  un  altra  felicità. 
Tonio.  Va  ben  !  va  ben  ! 
Maria.  E  fra  i  nemici  che  debbo  odiar  ; 

Per  un  di  questi  degg'io  tremar. 


Tonio.  Di  bene  in  meglio. 

Maria.  E  in  un  giorno  d'orror  che  i  sensi  invigorino. 
All'  olezzar  d'un  fior  cospersi  io  lo  sentii  • 
Del  vostro  pianto  quel  caro  fior  tesor, 
Pieno  d'incante  mai  da  quel  giorno. 


^  Aria.  [-4?icora.] 

Tonio.    ì  Abbandonò  il  mio  cor, 
Maria.  )  A  voti  così  ardente,  &c.  &c. 

[Si  precipitano  l'un  l'altra  ne. 
Tonio.    ì  Quest'  alma  è  rapita  nell'  estasi  d'amor. 
Maria.  3  Io  perderò  la  vita  ma  fido  al  tuo  bel  cor. 

[Partono. 


Sul. 


Mar. 
SuJ. 


Mar. 
Sul. 


Mar. 
Sul. 


Mar. 


Entra  Sulmzio,  la  Marchesa,  e  poi  Ortensio. 

Lo  dico  con  il  cuore  sulle  labbra. 

[Alla  Marchesa  che  legge. 
Dovermi  separar  da  quella  cara 
Amabile  fanciulla  è  tal  cordoglio 
Che  non  lo  so  spiegar.     Ma  non  e'  è 
Verso  :  se  il  Capitan  Roberto  fu  sposo 
A  lei  segreto  ;  a  lei  strettemente 
Celate  al  nobilissima  cosata  dei  Marchesi 
Di  LaufFen. 

Onde  astretta  venni  a  tener  occulto 
Quest'  imeneo  cotanto  desperato  ! 
Poi  lo  scritto  trovato  vicino  alla  fanciulla, 
E  a  lei  diretto,  parla  chiaro  abbastanza, 
E  aperto  mostra  che  la  figliuola  è 
Sua  ;  che  il  capitano  mortalmente  ferito 
Raccommandava  a  le  materne  curo 
Quell'  angiol  di  bontà. 
Ma  vi  scongiuro,  a  nessuno  palese 
Si  faccia  questo  arcano  ;  e  siate  certo 
Che  un  compenso  condegno  a  tante  cure — 
Eh  !  se  lo  tenga  pure  ;  che  col  perder 
Maria,  a  tutto  si  perde  !     Vado  dunque 
A  pigliarla. 
Io  là  v'  aspetto. 
Preferirei,  le  mille  volte  e  mille 
Morire  dalla  fame  in  alcuna  città 
Stretta  d'  assedio,  che  perderla  così. 
Non  e'  è  rimideo. 

Ortensio  !  presto,  Ortensio  !     Andate 
Subito  a  ordinar  i  cavalli  !  è  necessario 
Allontanarla  tosta  da  questi  militari 
Ad  ogni  costo. 


Entra  Caporale  e  Soldati. 


[Parte. 


Eecitativb. 
Tonio.  Yon  see  it  now,  I  love — 

Perhaps,  though,  I  love  alone. 
Maria.  Decide  for  yourself,  sir. 
Tonio.  Well,  then,  tell  your  tale  : 

I  will  listen  and  decide  it. 
Maria.  Long  time  coquettish,  so  free  and  joyous, 

I'd  no  notion  of  love's  pains  ; 

But  too  well  now  I  read  the  secret, — 

'Tis  a  lesson  taught  by  love  alone. 
Tonio.  Go  on — go  on. 
Maria.  I  lov'd  but  battle. 

The  noise  and  tumult  of  the  camp  ; 

But  ah  !  I  freely  will  confess  it, 

All  my  feelings  now  are  chang'd. 
Tonio.  Oh,  better  still. 
Maria.  Since  the  day  when  I  met  you, 

Upon  the  steep  abyss's  edge  depending, 

I  pluck'd  this  flower,  in  its  wild  bed  blooming. 

And  wore  it  here  as  it  had  been  your  gift. 

Till  at  length  it  wither'd  on  my  heart. 
Tonio.  Go  on,  go  on  ! 
Maria.  What  need  to  tell  thee  more  1 

You  must  now  decide. 
Tonio.  Maria! 

Air.  [Resumed.] 

Tonio. 

No  longer  can  I  douljt  it, 

Her  heart  is  giv'n  to  me  ; 
And  mine,  too,  beats  responding  ; 
Oh  yes,  it   beats  for  thee — yes,  far 

thee. 
I  love  you,  Maria  I 

My  heart  is  ever  thine. 
Oh  !  death  itself  were  welcome, 
Could  I  but  call  thee  mine. 

[Exeunt. 
Enter  Sulpizio,  the  Marchioness,  and  afterwards  Orten- 
sio. 
I  speak  it  with  my  heart  upon  my  lips. 

[  To  the  Marchioness,  who  is  reading  a  letter. 
To  be  obliged  to  part  from  that  dear 
Amiable  girl,  is  such  a  grief, 
That  I  cannot  express  it.     But  it  cannot 
Be  helped.     If  Captain  Roberto  was  married 
To  her  in  secret,  from  her  carefully 
Conceal  the  noble  wardenship  of  the  Marquis 
Of  Lauffen. 

Wherefore  I  have  kept  concealed 
This  unpropitious  marriage  ! 
Then,  the  writing  found  near  the  little  girl. 
And  directed  to  you,  speaks  clearly  enough  ; 
And  dis<-inctly  shows  that  the  daughter 
Is  yours — that  the  captain,  when  mortally  wounded, 
Commended  to  your  maternal  care 
This  angel  of  goodness. 
But,  I  conjure  you,  to  none  reveal 
This  secret  ;  and  be  certain 
That  recompense  adequate  to  such  care — 
Eh  !    Nothing  will  recompense  me  for  losing 
Maria  !     Yet  I  must  bring  her  hither. 


Maria. 

No  longer  can  T  doubt  it, 

His  heart  is  giv'n  to  me  ; 
And  ming,  too,  beats  respond' 

Oh  yes,  it  beats  for  thee  ; 
Yes,  for  thee — yes,  for  thee. 


Sd. 


Mar. 
Sul. 


Mar. 


Sul. 


Mar.    I  will  expect  her. 

Sul.   [Aside.]  I  should  prefer,  a  thousand  times. 

To  die  of  hunger  in  any  city 

Closely  besieged,  to  losing  her  thus. 

Yet  it  cannot  be  helped. 
Mar.    Ortensio  !  haste  thou,  Ortensio  !     Oh, 

Go  thou  quickly,  and  the  horses  order  ; 

Por  'tis  expedient  at  once  to  remove  her 

Prom  these  most  fearful  soldiers 

At  any  cost. 

Enter  Corporal  and  Soldiers. 


[Exit. 


14 


LA  FIGLIA  DEL  REGGIMENTO. 


EATAPLAN.    Choetts. 


Allegro  con  Brio. 


:4:=iÈ='z}z==z:J3: 


Ra  -  ta  -  pian,     ra  -  ta  -  pian,       ra   -  ta-plan,      ra  -  ta  -  pian,  pian,  pian   pian,  pian!    Ea  -  ta- 
Ha  -ta-plan,    ra  -  ta-plan,      ra  -   ta-plan,    ra  -  ta-plan,  pian,  pian, pian, pian!   ra  -  ta- 


ì-, 


T-^- 


'^m 


m i V 2 ^ w w — f% — Er 


i^TTB- 


pian!  Mil  -  i  -  tar 
/  Not  a    sol 


•  : -^   — 9 0 ^~ w 


:r.:=rr 


non     v'ha       Cui  non  bat   -    ta      il      cor. 
dier  wJwse  heart   does    not    beat      At     the     live 


Del  tamburo  al  bel    fra  -  gor. 
Ij/  rat  -  tie       of     the 


f\—  ,S       K-«j N f\ 


■0 — 0^—0 — 0-~\—0     *|   -» — #- 


>  -r — hT~N — ì:    >^    h  k    ^r1 — ^: — KrT~t^ — ?r — >r — ^~F — ^ 

Ì2Ee5E?Pz=5=J^Ìz=^PEE^3:!|:'=:fc^^=gz=ti- 

0 0 -L 0 0 -L 0 i- 

or.  Ra  -  ta-plan,     ra  -  ta-plan,  ra  -  ta-plan,     ra  -  ta-plan  !  Pian  di    zcl — picn  d'ar-dpr — Pien    di 

Ma  -  ta-plan,    ra  -  ta-plan,  ra  -  ta-plan,     ra  -  ta-plan  !  Full  of  zeal— fidi     of     ar  -  dor — of 


gor, 
drum. 


U j^ ^ X ^ ^ j ^ 1 


zel,       dar  -  dor —       Di   fer   -   vor —     a  que  -  sto    fra-gor         Ri  -    sponde  con  a  -  mor. 

fer    -   vor —      To  that       sound  he     re   -   sponds   with  de-light,         re   -    sponds  ivith  delight 


Cap. 


Viva  la  pugna  !  gli  affanni  suoi, 

E  la  vittoria,  e  il  guerregiar  ! 

Viva  la  moi-te  !  che  ognun  di  noi 

Nella  battaglia  vola  a  cercar. 

Ma  chi  diavolo  viene  ?     Oh  !  il  quel  giovinotto 

Che  fra  noi  questa  mane  è  capitato. 

Bravo  !  d'  avvero,  egli  si  fé'  soldato. 

Entra  Tonio,  con  la  coccarda  Francesa  al  berretto. 


Tonio.  Miei  cari  amici,  che  lieto  giorno  ! 
Le  vostre  insegne  io  seguirò  ; 
Sol  per  amore  a  voi  ritorno, 
E  un  grande  àroè  diventerò. 
Ah,  si  !  colei  ond'  io  sospiro 
Ebbe'  pietade  del  mio  martiro  ; 
E  questa  speme  desiata,  ognor 
Altera  i  sensi  ed  il  mio  cor. 

Coro.   Il  camerata  e  innamorato. 

Tonio.  Ed  In  voi  soli  confida  il  cor. 

Coro.    Che  ? — Nostra  figlia  l'ha  incatenato  ? 

Tonio.  Deh  !  m'  ascoltate  deh  ! 

Deh  !  m'  ascolcate  suo  genitor 

Le  nozze  stringere  con  lei  non  posso. 

Se  il  vostro  mancami  saldo  favor. 

Cap.  }  La  nostra  figlia,  s'  è  stabilito, 

Coro.  )  Un  inimico  non  prenderà,  no  ! 
Le  si  conviene  miglior  partito. 
Tal'  è  d'  un  padre  la  volontà. 


Cor. 


Hail  to  the  battle,  its  shouts  and  its  din  ; 

Hail  to  the  victors,  their  laurels  wlio  wia  ; 

Hail  too  to  death,  when  we've  fought  the  good  fight  ! 

The  brave  will  ne'er  compass  their  safety  by  flight  ! 

Eh  !  but  who  comes  hither  ?    Oh,  it  is  the  youngster 

Who  was  taken  this  morning  ;  bravo  !  surely 

He  has  enlisted — he  has  become  a  soldier. 


Enter  Tonio,  with  the  French  cockade  in  his  cap. 

Tonio.  My  brave  companions,  this  day  so  joyful  ! 
I'm  come  to  follow  your  much-priz'd  flag. 
For  love  alone  do  I  return  to  you  ; — 
And  a  great  hero  will  I  become. 
Ah  yes  !  e'en  she  for  whom  I'm  sighing 
Has  pity  on  my  deep  felt  passion. 
And  this  fond  hope  and  joy  long  wish'd  for 
Aflects  my  thoughts,  enchants  my  heart! 

Cho.     Our  comrade  has  in  love  fall'n  deeply. 

Tonio.  To  you  alone  confides  he  his  hopes  ! 

Cho.     What  ! — has  our  daughter  enthralled  you  ? 

Tonio.  Ah  !  pray  now  hear  me  ;  hear  ! 

You  who  are  her  father,  hear  me,  I  pray  ! 
I  cannot  hope  to  gain  her  in  man-iage, 
If  the  consent  of  all  of  you  be  denied. 

Cor.  Ì  Our  dearest  daughter,  it  is  resolved, 

Cho.-  )  Shall  not  be  wedded  to  a  foe.     No  ! 

A  match  much  better  shall  be  accomplished  ; 
Of  that  her  fathers  will  take  care. 


LA  FIGLIA  DEL  REGGIMENTO. 


15 


Tonio. 
Cap.  \ 
Coro.  ! 

Tonio. 


Cap. 
Tonio. 

Coro. 

Tonio. 

Coro. 

Tonio. 

Coro. 


Tonio. 
Cap. 

Coro. 


Vi  ricusate  ? 
\  Con  fondamento  ; 
Mentr'  ella  da  già  promessa 
Al  nostro  reggimento. 
No  lo  poteva  affato, 
Se  appunto  mi  son  fatto, 
Pfer  essa  militar. 
Peggio  per  te  ! 

Signori  miei — voi,  suo  buon  padre, 
Deh  !  m'  ascoltate  ! 
Peggio  per  te  ! 
La  vostra  figlia  m'  ama. 
Possibil  mai  ? — La  nostra  figlia  ! 
Si,  m'  ama  !  lo  giuro  al  ciel. 
Che  dire  1  che  fare  ?     Poi  che  egli  è  piacuto 
D'  un  padre  avveduto  al  nodor  assentir. 
Ma  senza  mistero,  non  sembra  pur  vero, 
Che  questo  bombacelo,  c'è  l'abbia  a  ghermir. 
Ebben'? 

Se  dici  il  ver,  suo  padre  adesso 
Il  suo  consentimento  ci  fa  promesso. 
Si  ; — il  suo  consentimento,  ci  fa  promesso. 


Tonio.  Qual  destino  !  qua!  favore  ! 
La  sua  mano,  ed  il  suo  coro  ! 
Ah  !  finito  è  il  mio  penar — 
Son  marito  e  militar. 
Suo  padre  me  l'ha  data  ! — e  sposa  mia  ! 


Entra  Sulpizio  e  Maria. 


Sul. 


Esser  non  può  d'  alcun  che  di  sua  zia. 
Se  la  porta  con  se — 

?  Che  !    Nostra  figlia  portarla  via  ?     Sei  pazzo. 

Tonio.  Lunge  da  me  condurla  !  e  sarà  ver  mio 
Bene  egliè  un  sogno  crudel. 


Cap 
Coro 


Tonio. 
Cor.  l 
Cho.  S 

Tonio. 


Cor. 
Tonio. 

Cko. 

Tonio. 

Cho. 

Tonio. 

Cho. 


Tonio. 
Cor. 

Cho. 

Tonio, 


Do  you  refuse  her  ? 
"With  good  sound  reason  ; 
Pledg'd  she  is,  not  to  marry 
Without  consent  of  the  reg'ment. 
Of  which  I  have  the  honor  to  be  one. 
I  hafe  become,  for  her  sake. 
One  of  your  reg'ment. 
The  worse  for  thee  ! 

Gentlemen,  hear  me  :  you,  her  good  fathers — 
Ah,  pray  now,  hear  me  ! 
We  want  not  thee. 
Your  beauteous  daughter  loves  me. 
Can  it  be  true  I—our  own  dear  daughter  ! 
She  loves  me  ;  bear  witness,  Heav'n  ! 
What  say  we  in  answer  ?    It  is  the  duty 
Of  a  prudent  father  his  consent  to  give. 
It  seems,  though,  unlikely,  beyond  e'en  belief, 
This  youth  should  have  won  her,   and  call  her  his 
But,  speak  !  [own. 

If  he  speaks  tnith,  her  fond  loving  fathers. 
In  promise  most  faithful,  will  give  their  consent. 
Yes  :  in  promise  most  faithful,  we'll  give  our  con- 
sent. 
O,  happy  fate  !  oh,  joyous  hour  ! 
Her  hand  and  heart  I  now  have  gain'd  ! 
Ah  !  my  anguish  is  all  ended — 
Now  a  husband  and  a  soldier. 
Her  fathers  now  have  giv'n  her — she's  wholly  mine  ! 

Enter  Sulpizio  and  Maria. 


Sul 


She  can  belong  to  none  but  to  her  aunt. 

Should  she  take  her  away — 
Cor.   ]  What,  our  own  daughter  !  take  her  away  !     What 
Cho.  )         madness  ! 
Tonio.  Take  her  away  from  Tonio  ?    And  shall,  indeed, 

My  happiness  pass  away  like  a  dream  1 


CONVIEN  P^ZZr/i?— FAREWELL,  A  LONG  FAREWELL.    Air.    Maria. 
Larghetto.  j^  n  ^ ^ 


Con  -  vien  par  -  tir!      o    miei  compagni  d'ar-me;        E    d'o-ra  in  poi  Ion-tan    -    da   voi  fug-glr, — 
Fare-well  !   a      long   fare-wdl  I  my  dear  companions,     In  pi  -  ty,   do   not  strive  to  hide  your  sorrow, — 


^'IS^^eI 


Ma    per     pie  -  ta     ce  -  la-te  a  mi  quel  pianto,  fia  il  vostro  duol  per  il     cor 
Jn     pi  -  ty,     do  not  strive  to  hide  your  sorrow — Those  tears,those  tears  will  be 


Di  Ma  -  ria      supremo  in- 
7ny       comfort     on     the 


canto.         Convien  par-tir,  convien  par-tir;    Ah,  per  pie  -  ta,  ce  -  la-te  il  vos  -  tro  pian  -  to,— 

morrow.    Farewell,  my  friends  ;  farewell,my  friends,  farewdl,  In  pity,    do  not  strive  to    hide  your  sor  •  row,— 


^p:?=[!i»r— i;z1: 


itzzitittz 


zNzjT— iE:fl«=:i= 


•E-:S 


u^i^^^^E^^^^^m^i^^Es- 


ad    - 
fare 


dio; 
well  ; 


con 
I 


vien, 
now 


par    -    tiri 
must        hence. 


16 


LA  FIGLIA  DEL  REGGIMENTO. 


")  Io  perdo,  o  cara  la  sola  speme 
>  Ogni  mio  bene  perdendo  te. 
J  A  tant' 


Cap. 

Sul. 


Coro. 


Sul. 

Tonio. 

Cap.     )  A  tant'  affanno  non  regge  il  core 

Simil  dolore  non  v'  è  per  me. 
Maria.  Cenvien  partir — o  voi  che  nel  mio  core  ; 

Destate,  te  i  primi  palpiti  d'  amore  !        • 

Ed  il  piacer,  con  me  partiste  e'  il  pianto. 

M'  offron  dell'  or — in  cambio  di  quel  ben  puro  sol- 
tanto. 

Convien  partir,  &c. 
Tonio.  Amici,  ah  !  in  ver  ciò  mai  non  sia  ; 

Partir  non  de' — non  de'" — Maria. 

Ah  !  no  ! 

A  tanto  affanno  regge  il  core  ; 

Simil  dolore,  non  è  per  me. 

Io  perdo,  o  cara  !  la  sola  speme  ; 

Ogni  mio  bene  perdendo  te. 

Partir  no  non  de. 
Tonio.  Ah  !  se  voi  mi  lasciate  io  vengo  via.  ' 

Sul.     Ma  ingaggiata  non  sei,  bellezza  mia. 
Maria.  Tonio  ! 
Tonio.  Mia  bene  amata  ! 

Maria.  Questo  colpo  mancava  al  mio  tormento. 
Tonio.  Maria  1  ' 

Maria.  Perderlo  adesso  ?     Ah  !  che  morir  mi  sento. 
Snl.     Ma  ingaggiata  tu  sei. 
Maria.  )  Questo  colpo  mancava  al  mio  cor. 
Tonio.  \  Ahimè  ! 

Cap.  1  Oh  !  duol,  oh  !  sorpresa,  lasciarla  partir 
Sul.    >  Al  diavolo  Marchesa,  che  ce  la  vuol  rapir. 
Coro.  ^  In  ogni  cimento,  che  s'abbia  a  sfidar 

Del  nostro  reggimento  è  I'  angiol  tutelar. 
Maria.  )  Ah  !  non  più  speranze — non  più  piacere — 
Tonio.  \  D'un  giorno  solo  potrò  goder. 

Ah  !  eh'  ogni  bene  disprezza  il  cor, 

Se  a  tante  pone  lo  danna  amor  ! 
Mar.    Andiam,  nipote. 
Maria.  Miei  cari  amici,  addio  !  per  sempre  ! 

La  man,  o  Pietro — la  tua  Matteo  ; 

La  tua,  vecchio  Tommasso. 
Mar.    Ah,  qual  oiTor  ! 
Maria.  Che  ancor  bambina  in  braccio  mi  portavi  : — 

Abbracciami,  Sulpizio  ! 

Ah  !  di  costoro  io  son  1'  amor  ! 
Mar.    Oh,  1'  orror  ! 
Tonio.  Oh,  r  orror! 
Coro.   Nostra  figlia  nostro  amor. 
Tonio.  Il  mio  core  è  a  te  serbato  ; 

E  fedele  a  te  sarò. 

Ah,  si'  il  mio  core  è  di  Maria  ; 

E  fido  a  lei  lo  serberò. 
Mar.    Andiam,  partiam. 
Ort.      Andiam,  Marchesa  ;  su  via  partiamo. 

r.'^f'  I  Al  diavol  la  Marchesa, 
^  '   j  E  con  lei  chi  la  pai-ta. 

FINE    dell'    atto    PRIMO. 


ATTO    II. 

SCENA  I. — //  teatro  rappresenta  un  Salone,  che  per  mezzo 
di  porte  in  fondo  mette  ad  una  galleria.     Portee  finestra 
laterali — Unclavicenihalo,  tavolini,  etc. 
Ortensio  e  Sulpizio,   che  avrà  un  braccio  al  collo,   ma 
di  tempo  in  tempo  gestisce  per  provare  che  la  ferita  va  meg- 
lio. 
Ort.     Ecco  le  carte  che  il  notaro  invia. 
Il  duca  e  la  sua  madre 
"Per  lo  sei  saran  qui."     Feste  !  allegria  !  [Via. 


Sul.^ 
Tonio 
Cor, 


io.  > 


Cor. 
Sul. 
Cho. 


Break  not  my  heart  ! 
Must  we,  then,  part  ? 
Glory  and  arms 
Have  now  no  charms. 
Maria.  I  must  now  go — but  I  can  ne'er  forget  you  ; 
No,  live  where  I  may,  my  heart  is  yours  : 
I  shall  ever,  in  pomp  and  pleasure,  still  regret  you. 
No  friends  can  be  so  dear  as  those  I  leave  be- 
hind me. 
Farewell  !  farewell  !  farewell  ! 
Tonio.  My  friends,  in  truth,  this  ne'er  must  be  ; — 

You  should  not  ever  hence  depart,  Maria  : 

Ah  !  no  ! 

To  lose  you  thus  my  heart  is  filled  with  pain  ; 

Such  grief  as  this  will  ne'er  be  mine  again. 

I  lose,  belov'd  one,  now  my  only  hope  ; — 

And  every  joy  is  gone  in  losing  thee  ! 

To  leave  us  ! — No,  it  must  not  be  ! 
Tonio.  Yes,  yes  :  if  thou  dost  leave  us,  I  fain  must  follow. 
Sul.     But  art  thou  not  enlisted,  my  tender  youngster  Ì 
Maria.  Tonio  ! 
Tonio.  My  own  beloved  ! 

Maria.  This  alone  was  wanted  to  complete  my  anguish. 
Tonio.  Maria  !  [feel  it. 

Maria.  And  must  I  leave  him  ?    Ah,  worse  than  death  I 
Sul.    But  you  are  enlisted. 

Maiia.  ^  This  dread  blow  my  fond  heart  will  surely  crush. 
Tonio.  >  Alas  ! 

Cor.  3  0  grief  !   0  surprise  !  to  let  her  depart 
Sul.  ^  With  the  cruel  Marchioness. 
Cho.  J  In  every  trial  that  we  have  endured 

She  has  of  our  regiment  been  the  tutelary  angel. 
Maria.  }  Ah  !  no  longer  hope — no  longer  pleasure, 
Tonio.   5  May  I  for  a  single  day  enjoy. 

Ah  !  let  my  heart  despise  every  delight, 

If  love  condemns  it  to  such  pains  as  this  ! 
Mar.    My  niece,  now  let  us  depart. 
Maria.  My  dear  friends,  farewell  !  farewell  for  ever  ! 

Your  hand,  dear  Pietro — yours,  too,  Matteo  ; 

And  yours,  old  Tomasso. 
Mar.    Ah,  I  am  shock'd  ! 
Maria.  When  yet  a  little  child,  in  his  arms  he  bore  me  ; — 

Embrace  me,  dear  Sulpizio  ! 

Ah  !  by  them  I  am  beloved  ! 
Mar.    I  am  shock'd  ! 
Tonio.  So  am  I  ! 

Cho.     Our  daughter  dear  is  our  best  treasure. 
Tonio.  My  heart  now  beats  for  thee  alone  ; 

And  constant  will  I  ever  be. 

Ah,  yes  ;  my  heart  is  now  Maria's, 

And  faithfully  will  I  devote  it  to  her. 

Let  us  away. 

Even  so,  my  lady — we'll  thither  journey. 

The  deuce  take  the  Marchioness, 
And  him  along  with  her. 

END  of  act  I. 


ACT    II. 

SCENE  I. — The  Stage  represents  a  Saloon  opening  by  fold- 
ing doors  at  the  back  on  to  a  gallery.  A  clavecin,  small 
tables,  S^c. 

Ortensio  and  Sulpizio  discovered,  who  has  an  arm  in  a 
sling,  but  makes  signs  from  time  to  time,  to  show  that  the 
wound  is  better. 
Ort.      Here  are  the  cards  sent  by  the  notaiy. 
The  Duke  and  his  mother 
"  Will  be  here  at  six  o'clock."  What  pleasure  !  [Exit. 


LA  FIGLIA  DEL  REGGIMENTO. 


17 


Sul.     Povera  figlia  !    Io  più  non  ho  coraggio 

Di  vederla  soffrir.     Già  da  quattr'  ore  , 

Le  van  storpiando  i  piedi,  perchè  impari 

Il  minuetto — e  quella,  abituata 

A  saltare  con  noi  liberamente, 

Piange — e  ripete  :  Non  ne  faccio  niente  ! 

Vestita  da  gran  dama — 

Entra  Maria. 
Maria.  Oh,  mio  Sulpizio  ! 

Io  non  ne  posso  più — vonno  ammazzarmi — 
Ma  tei  dissi,  e  il  ripeto  schiettamente. 
Hanno  un  bel  dir  :  "  Non  ne  faremo  niente." 

10  Tonio  voglio — e  non  baroni  o  duchi. 
Tonio  per  me  si  fé'  soldato,  ed  io — 

Sul.     La  zia  ! — 
Maria.  Che  importa  ? 

Sul.  Zitti. 

Misericordia  !  che  toelette. 

Esce  la  Marchesa,  in  toupet. 
Mar.    La  romanza  in  quistione  è  ritrovata. 

E  cosa  prelibata — 

Venere  scende — 
Sul.  (E  monta  il  mal  amore.)  ' 

Mar.    Che  dite  ? 

Sul.  Io  ?     Nulla  affatto— 

Mar.    Venere  scende  fra  la  notte  opaca, 

Per  vedere  colui,  che  amor  le  inspira — 

[Musica  del  Maestro  CoffarieUo. 
Maria.  (Sulpizio,  senti?) 

Sul.  .    (Oh,  beUo!) 

Mar.    Ebben,  Maria,  stupida  resti.     Andiamo  ;     , 

Voi  zitto  ;  tu  sta  attenta — incominciamo. 

\Si  pone  al  clavicembalo,  e  suona  con  caricatura. 

Maria.  Sorgeva  il  di  del  bosco  il  seno, 

E  vener  bella  scende  a  dal  ciel. 

Scendeva  in  questo  soggiorno  ameno. 
Sul.     Il  nos  tro  canto  era  più  bel. 
Maria.  Sul  orme  amiche  del  sue  fedel. 
Sul.  Rataplan, 

E  il  Reggimento  eh'  egual  non  ha. 
Maria.  Rataplan, 

E  il  Reggimento  eh'  egual  non  ha. 
Mar.    E — ma  che  sento  mai  ì  • 

Maria.  Perdon — perdono  ! 

Confusa  un  po'  mi  sono. 

Ero  distratta  :  perdon  !  perdon  ! 

E  quest'  amante  a  cui  Ciprigna. 

Donava  il  premio  del  valor, 

11  più  gentile  della  città 
La  cui  beltà — 

Sul.      Oh,  ben  supremo  della  beltà. 
Maria.  ì  Ecolo  qua. 

Sul.       !  Ecco  r  undecime  eh'  egual  non  ha. 
Mar.    Oh,  quale  infamina — che  dite  la  ? 
Maria.  [A  Sulpizio.[  (Ohimè  che  noja!) 
Mar.    Andiamo  avanti. 
Maria.  Sia  pur  cosi. 

[Alla  Marchesa,  condispetto,  poi  piano  a  Sulpizio. 

Ma  non  e'  è  caso — non  e'  entra  qui. 

Vener  scorgendo  tanto  vezzosa, 

L'  eco  del  monte,  della  valle 

Di  Filomela  1'  ansia  gelosa 

Ripeteranno  col  suon  d'  amor. 
Mar.    Via  sospiriamo  siccome  lei. 
Sul.     le  preferisco  a  que'  sospiri 

D'  un  buon  tamburo  il  bel  fragor. 
Maria.  Ah  !  non  ho  più  pazineza, — 

Troppe  è  ridicol  cosa  ; 

Io  non  ne  posso  più. 


Sìil.     Poor  girl  !  I  have  no  longer  courage 

To  see  her  suffer.    For  four  hours  has  she  been 
Twisting  her  feet  in  every  direction,  learning 
The  minuet  ;  and  she  who  has  been  used 
To  do  just  as  she  pleases  with  us, 
Now  weeps,  and  repeats  :  "  I  can  do  nothing 
Dressed  as  a  grand  lady." 

Enter  Maria. 

Maria.  Oh,  Sulpizio, 

I  can  do  no  more  of  it,  if  they  kill  me  for  it. 
But  I  have  already  said,  and  I  now  repeat  it,  [nothing." 
We  have  a  good  saying  :  "  Against  my  will  I  will  do 
I  will  have  Tonio,  and  no  barons  and  dukes. 
Tonio  for  my  sake  became  a  soldier,  and  I — 

Sid.     Your  aunt  ! — 

Maria.  I  care  not  for  her  ! 

Sul.  Gently. 

Mercy  on  us  !  what  a  toilette. 

Enter  the  Marchioness,  in  toupés. 
Mar.    The  romance  in  question  is  found, — 

It  is  an  exquisite  gem. 

Venus  descends — 
Sul.  (And  bad  humor  ascends.) 

Mar.    What  do  you  say  Ì 
Sul.  I  ?   Nothing,  truly. 

Mar.    Venus  descends  in  the  midst  of  night. 

To  see  him  who  has  inspired  her  with  love. 

[Music  by  the  Maestro  Caffariàlo. 
Maria.  (Sulpizio,  do  you  hear  ?)   • 

Sul.  (Oh,  splendid  !)  .- — 

Mar.    "Well,  Maria,  you  stand  there  like  a  stupid. 

Come,  pay  attention — we  will  begin. 
[She  places  herself  at  the  piano,  which  she  plays  in  an 
exaggerated  style. 
Maria.  The  light  of  early  day  was  breaking. 

When  from  the  skies  above 

Fair  Venus  to  her  grot  descended. 
Sul.      Our  songs  in  camp  were  much  more  gay. 
Maria.  To  seek  the  object  of  her  love. 
Sul.  Rataplan, 

Roll  on,  roll  on,  and  march  away. 
Maria.  Rataplan, 

Roll  on,  roll  on,  and  march  away. 
Mar.    Eh  !  what  in  the  name  of  fate  do  I  hear  ? 
Maria.  Forgive  me,  forgive  me  ; 

I  am  a  little  confused. 

My  thoughts  were  wandering  !  forgive  me  ! 

It  is  this  lover,  to  whom  Ciprynia 

Gave  the  premium  of  valor, 

The  most  charming  in  all  the  city. 

Whose  beauty — 
S'd.      Our  regiment  for  beauty  pre-eminent. 
Maria.  Ì  This  is  it. 

Sul.       )  The  Eleventh  without  a  rival  remains. 
Mar.    (0,  what  infamy — what  are  you  saying  ?) 
Maria.  [To  Sulpizio.l  (Oh,  what  an  annoyance.) 
Mar.    Let  us  continue. 
Maria.  Be  it  so. 

[To  the  Marchioness,  with  spitefalness,  afterwards  whis- 
pering to  Sulpizio. 

But  it  is  not  so — it  does  not  come  in  here. 

Venus  discovered  so  many  charms. 

That  the  echoes  of  the  hills  and  valleys 

Repeated  with  sounds  of  love 

The  jealous  pangs  of  Philomel. 
Mar.  Here  you  must  sigh  as  she  did. 
Sul.     I  prefer  to  such  sighs 

The  sound  of  a  good  drum. 
Maria.  Ah  !  I  have  no  more  patience,-»- 

It  is  truly  ridiculous  ; 

I  will  bear  no  more  of  it. 


18 


LA  FIGLIA  DEL  REGGIMENTO. 


Mar. 


Oit. 
Sul. 
m. 

Sul. 


Ort. 


Mar.    Ohimè  che  sento  !  ah  qual  risposta  ! 
Maria.  En  avant  !   En  avant  ! 

Rataplan — plan — plan  ! 

Quale  orror  :  possibil  mai  ? 

Che  si  possa  avviluppar 

Ad  un  canto  si  gentile 

La  canzon  d'  un  militar  ! 
\La  Marchesa  allontana,   sdegnata.    Maria  entra  nelle 
proprie  stanze,  e  mentre;  Sulpizio  sta  per  andarsene 
dal  fondo  s'  incontra  con  Ortensio. 

Giusto  voi,  granatiere. 

Cos'  è  accaduto  ? 

C  è  a  basso  un  militar — ma  di  que'  grossi  !' 

Ha  uno  spallino  d'or. 

Uno  spallino  '? 

(Forse  lui  ! — cospetton — ci  voiTia  questa  ! 

Che  gazzabuglio  allora  e  che  tempesta.)  [Parte. 

Un  giorno  o  1'  altro — ed  esser  dee  pur  bello  ! 

Dee  cangiarsi  in  quartier  tutto  il  castello.  [Via, 

Entra  Maria. 

Maria.  Per  sì  fatai  contratto  tutto  è  letizia  intomo. 

La  mia  sventura  io  computo  in  tal  giorno — 

Ma  cosa  sento  io  mai  1 

Ciel  ! — ah  m'  illudessi  1 

Questa  marcia  guerriera — 

Ah  son  pur  dessi  ! 

Oh  trasporto  !  oh  dolce  ebrezza  ! 

Son  gli  amici  del  mio  cor. 

Bei  piacer  di  giovinezza 

Ritornate  almen  con  lor; 

Evviva  l'Italia  ! 

E  i  prodi  guerrier  ; 

Son  dessi  mia  gioia. 

Mio  solo  pensier. 

Al  essi  soltato 

Aspiva  il  mio  cor  ; 

Con  essi  ritrovo 

La  gloria,  1'  amor. 
Coro.   E  lei,  nostra  figlia. 

Qual  piacer,  qual  destin  ! 

L'  antica  tua  famiglia 

Ti  vede  alfin. 

Entra  Sulpizio,  poi  Tonio  e  Ortensio. 

Sul.     0  camerati  !  amici  ! 

Coro.  Oh  !  veh,  Sulpizio  ! 

Sai.      Si,  Sulpizio  in  persona, 

Che  vi  stringe  e  v'  abbraccia  tutti  quanti. 

Tommaso — Amlw-ogio — Pietro — 

Nessun  manca  all'  appello  ! 
Sfuria.  [Cercando  collo  sguardo.]  Oh  si,  nessuno  ! 
Tonio.  E  peppur  Tonio. 
Maria.  [  Correndo  ad  esso.]  Ah,  Tonio  mio  !  ma,  guardo, — 

Ha  uno  spallino.  [A  Sidpizio. 

Tonio.  Per  Bacco  ! 

Quand'  un  si  è  messo  in  testa 

])i  morire  sul  campo  dell'  onore, 

Non  e'  è  a  dir — o  sale  in  alto,  o  more. 
Sul.     Ma  voi,  miei  buoni  amici,  un  bicchie  ino 

Forse  ne  bevereste  ? 
Coro.  Figurarsi  ! 

Maria.  E  se  torna  la  zia  ? 
Sul.  Staran  celati 

In  fondo  al  parco.     Ortensio  ! 
Ort.      Misericordia  ! 
Maria.  Senza  tante  smanie, 

A  costor  fate  dare  una  bottiglia. 
Oli,.      Ce  ne  vuole  una  botte  1 
Sul.  Meno  ciarle, 

Sien  gli  ordini  eseguiti,  e  se  resiste — 


Mar.    What  do  I  hear  ?    Ah  !  what  an  answer  ! 
Maria.  En  avant  !  en  avant  ! 

Rataplan — plan — plan  ! 
Mar.    For  shame  !    Is  it  possible  ? 

Thus  dare  to  disfigure 

With  a  noisy  military  tune 

A  song  so  charming  as  this  ! 
[Exit  the  Marchioness,  enraged — Maria  enters  her  own 
room  ;   Sulpizio  is  also  about  to  leave.     Ortensio 
enters. 
Ort.      You  are  just  the  person  I  wanted  to  see,  grenadier. 
Sul.      What  has  happened  Ì 
Ort.      There  is  a  soldier  below — but  one  of  the  great  ones  ; 

He  has  a  wounded  shoulder. 
Sul.     A  wounded  shoulder'? 

(Perhaps  it  is  he.  Zounds  !  that  this  should  happen  ! 

What  an  uproar  there  will  be  !)  [Exit. 

Ort.      Every  day  there  is  something  happening. 

And  the  whole  castle  is  turned  topsy-turvy.       [Exit. 

Enter  Maria,  alone. 

Maria.  All  around  rejoice  at  the  fatal  contract, 

Whilst  I  in  one  day  see  my  misery  complete. 

But  what  do  I  hear  Ì 

Heavens  ! — is  it  an  illusion  Ì — 

This  martial  music  ! 

Ah  !   it  is  them  ! 

Oh  !  what  happiness,  what  delight  ! 

'Tis  my  heart's  best  friends. 

Sweet  pleasure  of  jwuth. 

With  them  to  return. 

Long  live  my  country, 

And  all  its  brave  wamors  : 

They  are  my  delight — 

They  are  my  sole  thought  ; 

For  them — them  alone, 

Does  my  heart  now  long  ; 

With  them  I  should  find 

Love  and  glory  once  more. 
Cko.     'Tis  she,  our  daughter. 

What  happiness  !  what  joy  ! 

Your  loving  family 

Sees  you  at  length  again. 

Enter  Solpizio,  followed  by  Tonio,  and  afterwards  Oe- 

<  TENSIO. 


Sul. 
Cho. 
Sul. 


Maria. 
Tonio. 
Maria. 

Tonio. 


Sul. 

Cho. 

Maria. 

Sul. 

Ort. 
Maria. 

Ort. 
Std. 


Oh,  comrades,  friends  ! 

Oh,  Sulpizio  ! 
Yes,  Sulpizio  himself, 
And  he  embraces  every  one  of  you. 
Thomas — Ambrose — Peter — 
None  are  missing  at  my  call. 
,   [Looking  around.]  Oh  yes,  all  are  here. 
Ay,  even  Tonio. 

,  [Running  to  him.]  Ah,  my  own  Tonio  !     But  look, 
He  has  a  wounded  shoulder.  [To  Sulpizio. 

By  Bacchus  ! 
When  a  man  has  taken  it  into  his  head 
To  die  on  the  field  of  honor. 
No  one  can  tell  where  the  blow  may  fall. 
But  you,  my  dear  friends. 
Perhaps  you  would  like  a  cup  of  wine. 
Willingly. 
,  And  if  my  aunt  should  return  ? 

They  shall  be  concealed 
In  the  park.     Ortensio  ! 
Good  Heavens  ! 

Without  more  ado, 
Go  and  get  a  cask  of  wine. 
Do  you  want  a  whole  cask  ? 

Without  any  prating, 
Let  the  order  be  obeyed  ;  and  if  you  resist — 


LA  FIGLIA  DEL  REGGIMENTO. 


19 


Ort. 

Sul. 
Coro. 
Ort. 
Coro. 

Sul.  _ 

Maria 

Tonio. 

Sul. 

Tonio. 

Maria. 

Sul._ 

Iconio. 

Sul. 


Sul.  _ 

Maria, 

Tonio. 

Tonio. 

Maria. 

Tonio. 

Maria. 

Sul. 

Tonio. 

Maria. 

Tonio. 

Sul. 

Siti.  _ 

Maria. 

Tonio. 


10  poi — 
Già  intesi  siamo. 
Andiam. 

No,  che  non  vengo. 

Andiamo— randiamo. 
[/  Soldati  partono  via  Ortensio. 
(  Stretti  insiem  tutti  tre, 
1      Qual  favor  !  qual  piacer  ! 
'  j  Tanto  ben,  tal  mercè, 

V  Non  può  il  cor  sostener. 
Dolce  memoria  ! 

Bel  tempo  andato  ! 
Da  noi  lontano — 

S'  e  trasportato. 
Ma  tornerà. 

Lo  spero  invano. 

11  tempo  andato  tornò  per  me, 
A  lui  vicino,  vicino  a  te. 

Stretti  insiem  tutti  tre. 

Qual  fiivor  !  qual  piacer  ! 
Tanto  ben,  tal  mercè. 
Non  può  il  cor  sostener. 
Tu  parlerai  per  me — 

Per  lui  tu  dèi  parlar. 
Premiar  la  nostra  fé. 
Né  devi  poi  tardar. 
Ma  udite,  udite  almen. 

La  tua  promessa  è  urgente. 
Ei  m'  ama  immensamente. 
Il  core  e  la  sua  fé. 
Ma  al  diavolo  voi  e  me. 
(  Stretti  insiem  tutti  tre. 
J      Qual  favor  !  qual  piacer  ! 
1  Tanto  ben,  tal  mercè, 

V  Non  può  il  cor  sostener. 

Entra  La  Marchesa. 
Mar,    Che  vedo  !  un  uffiziale  ?— E  voi,  Sulpizio, 

Qui  rinchiuso  con  lor,  che  fate  1 
Maria.  Oh,  zia  ! 

Questi  è  quel  Tonio  che  salvommi  un  giorno. 

Da  certa  morte — quest'  è  1'  amor  mio.  [Timida. 

Mar.    Che — amor  ! — che  dite  voi  1 
Tonio.  Signora — 

Mar.  Zitto  ! 

Al  Duca  Krakentorp  sposa  è  Maria — 
Sul.      Cioè  (perdonif  sbaglia  un  po'la  zia  ! 

E  promessa  soltanto  suo  malgrado  ; 

Ed  or  che  Tonio  capitano  è  fatto, 

E  che  la  vuol,  va  a  monte  ogni  contratto. 

Mar.    Come,  Sulpizio  ? — voi — in  tal  guisa,  voi 

Che  sapete — 
Tonio.  Ma,  signora — 

Mar.  Escite  !  \A  Tonio. 

Né  qui  osate  mai  pih  di  porre  il  piede — 
Tonio.  [  Offeso.]  Qual  baldanza  è  la  vostra  ! 

V  ado  e  tomo.  Maria  ; 

Sarai  mia  sposa  al  nuovo  giorno. 

[A  Maria,  che  piange  e  parte. 
Sul.      Bravo  ! 
Mar.  Che  dite? 

Tonio.  Addio  le  ho  detto. 

Mar.  [A  Maria.]  Ritiratevi  tosto  ;  invan  piangete. 

Maria.  Parto — ma,  Tonio —  * 

Mar.  E  quando  ubbidirete  1 

*  "  [A  tutti,  due  che  andavan  via.     Maria  da  uno  sguardo 
a  Sulpizio,  e  parte. 
"  Fermateri,  Sulpizio — 
Un  gran  segreto  confidar  dovrei — 
Alla  vostra  onestà.     Lo  leggete. 


Sul. 

Maria. 

Tonio. 

Tonio. 

Maria. 

Tonio. 

Maria. 

Sul. 

Tonio. 

Maria. 

Tonio. 

Sul. 

Sul. 

Maria, 

Tonio. 


Ort.     I  then— 

Sul.     We  understand  each  other. 

Cho.    Let  us  go. 

Ort.      No,  do  not  come. 

Cho.    Let  us  go,  let  us  go. 

[  The  Soldiers  depart  from  Ortensio, 
g^l        {  All  three  united  together  again — 
Maria  <      ^^^^  ^  f'^vor  !  what  a  pleasure  ! 
Tomo  '  t  '^^^  heart  can  scarce  sustain 

'      Such  unlooked-for  happiness  ! 
Sul.       Sweet  remembrances  ! 
Tonio.    Oh,  days  gone  by  ! 
Maria.  Far  from  us. 
Std.       They  are  gone. 
Tonic.    But  they  will  return. 
Sul.       I  hope  it,  in  vain  ; 

But  past  times  come  again  for  him  and  me, 

When  near,  oh,  near  to  thee. 

C  All  three  united  together  again  ; 

)      What  a  favor  !  what  a  pleasure  ! 

y  The  heart  can  scarce  sustain 

C      Such  unlooked-for  happiness  ! 

You  will  speak  for  me — 

You  must  speak  for  him. 

And  plead  our  plighted  faith. 

You  must  not  delay. 

But  listen,  listen  at  least.  ♦ 

Your  promise  is  urgent. 

He  loves  me  immensely. 

With  heart  and  soul. 

The  plague  take  you  and  me. 

'  All  three  united  together  again, 
Wliat  a  favor  !  what  a  pleasure  ! 
The  heart  can  scarce  sustain 
Such  unlooked-for  happiness. 

Enter  the  Marchioness. 
Mar.    What  do  I  see  ?  an  officer  ! — and  you,  Sulpizio, 

You  here  with  them — what  are  you  about  ? 
Mario.  Oh,  aunt  ! 

This  is  Tonio,  who  long  ago  saved  me 

From  certain  death — this  is  my  lover.  [Timidly. 

Mar.    What — love  !     What  do  you  say  ! 
Tonio,  .   Lady — 

Mar.  Be  silent  ! 

Maria  is  to  the  Duke  of  Krakenthorp  betroth'd. 
Sul.     This  is — (your  pardon) — a  little  mistake  of  her  good 
aunt's  ; 

She  is  promised  only  in  defiance  of  herself; 

And,  now  that  Tonio  is  made  a  captain, 

And  that  he  will  marry  her,  the  contract  is  ended. 
Mar.    What,  Sulpizio  ? — you — in  this  manner — you 

Who  well  know — 
Tonio.  Butj  signora — 

Mar.  Go  !         [To  Tonio. 

And  never  dare  here  again  to  put  your  foot. 
Tonio.  [Offended.]  What  presumption  is  yours  ! 

I  go,  but  will  return,  Maria  ; 

You  shall  be  my  wife  by  break  of  day. 

[To  Maria,  who  weeps. 
Sul.     Bravo  ! 

Mar.  What  say  you  1 

Sul.  '  I  merely  said  "  Good  bye." 

Mar.  [To  Maria.]  Withdraw  immediately;    you  weep  in 

vain. 
Maria.  I  go — but,  Tonio — 
Mar.    And  when  will  you  obey  Ì 

"  [To  both,  who  are  going.     Maria  gives  a  look  at  Sul- 
pizio, and  goes. 

"  Remain,  Sulpizio — 

I  am  about  to  confide  a  great  secret 

To  vour  discretion.     Read  this. 


*  The  Passages  printed  within  inverted  commas  are  not  used  in  the  Representation. 


20 


LA  FIGLIA  DEL  KEGGIMENTO. 


"Sili.  \Legge.]  Educata  nella  mia  gioventù  troppo  severa- 
mente, a  toltami  ogni  via  di  conoscere  la  società — al 
primo  comparir  nel  mondo  vidi  un  giovane  ufficiale 
— mi  piacque — Io  amai — partiva — e  da  un  matrimo- 
nio clandestino  n'  ebbi  una  figlia.  Ora,  una  mano 
celeste  a  me  la  guida  ;  ma,  per  mio  rossore,  pubbli- 
car non  posso  in  faccia  agli  uomini,  per  legami  di 
famiglia  per  inimicizie  nazionali,  che  fui  sposa — e 
qualla  che  ad  ogni  istante  abbraccio — quella  Maria 
che  voi  mi  rendeste,  quelle  è  figlia  mia. 
"  [La  Marchesa  quasi  piangendo  si  getta  a'  suoi  piedi. 

"  Sul.  Ah,  signora  ! — 

Disponete  di  me  come  vi  piace — 

"Mar.  Al  Duca  Krakentorp  la  persuadete 
A  passar  in  isposa-^e  sopra  tutto 
Non  svelate  il  mistero — 

"Sul.  Yado— volo." 

Filtrano  la  Duchessa  ed  il  Notare. 

Due.    Mio  figlio  il  Duca 

Occupato  alla  Corte,  può  verir, 

Ma  ov'  è  vostra  rigote  ? 
Mar.    Tuttora  alla  toilette  ; 

Ma  serva  'tosto. 

Entrane  Maria  e  Sulpizio. 

Mar.    Maria  ! 

Maria.  Cara  madre  !  [Piangendo. 

Mar.  Oh,  figlia — zitto  ! 

Sid.      Giudizio —  [Ad  entrambe  sotto  voce. 

Mar.  Un  compimento  avrà  la  festa  ! 

Maria.  Deggio  segnar  ■?  [Alla  Marchesa. 

Mar.  Ah  !  la  mia  brama  è  questa. 

[Odesi  un  improvviso  rumore. 

Entrano  Tonio  e  Soldati. 

Tutti.  Giusto  Ciel  !  quali  gradi  !  qual  chiasso  ! 
Tonio.  Mi  seguite,  compagni. 


"  Sul,  [Reads.]  Brought  up  in  my  youth  too  strictly,  and 
deprived  of  the  opportunities  of  mixing  in  society, 
at  my  first  appearance  in  the  world  I  saw  a  young 
officer — he  pleased  me — and  a  daughter  was  the  off- 
spring of  a  clandestine  marriage.  Now  a  heavenly 
hand  has  brought  her  to  me  ;  but  shame  prevents 
me  revealing  in  the  face  of  the  world  that  I  forgot 
family  ties  and  national  enmities — that  I  became  a 
wife — that  she  whom  I  embrace  every  moment — that 
Maria,  whom  you  restored  to  me,  is  my  daughter. 
"  [The  Marchioness  throws  herself,  weeping,  at  his  feet. 

"Sul.   Oh,  lady! 

Dispose  of  me  as  you  please. 

"Mar.  Persuade  her  to  become  the  wife 

Of  the  Duke  of  Krakenthorp  ;  and,  above  all, 
Do  not  reveal  the  secret. 

"  Sd.  I  go— I  fly." 

Enter  the  Duchess  and  a  Notary. 

Due.    My  son  the  Duke 

Is  at  the  court  so  occupied. 

That  he  cannot  hither  come. 
Mar.    All  things  are  here  prepared. 

And  we  have  been  waiting  for  him. 

Enter  Maria  and  Sulpizio. 

Mar.    Maria. 

Maria.  Dear  mother.  •  [  Weeping. 

Mar.    Oh,  daughter,  hush  ! 

Sul.     Justice.  [  Whispering  to  both. 

Mar.    The  feast  will  be  complete. 

Maria.  Must  I  sign  ?  [To  the  Marchioness. 

Mar.    Yes  !  such  is  my  wish. 

[An  extraordinary  noise  is  heard. 

Enter  Tonio  and  Soldiers. 

All.      Just  Heaven  !   What  cries  !   What  a  bustle  ! 
Tonio.  Follow  me,  companions. 


TI  RINCORA,  AMATA  FIGLIA— WE  HAVE  COME  OUR  CHILD  TO  EREE.     Chorus. 


Vivace. 


i^Éi^illiiiiiiigii^ 


Ti  rin-cora  a-ma  -  ta  fig-lia;  Per  giovar-ti  sia-mo  qua,  Da  ogni  mal  la  tua  fa-mi-glia,  Te  defen-de-re  sa- 
We  have  come  our  child  to  free;  Gallant, loving  fathers  we;  Oh,we  soldiers  know  our  duty,  Never  fear  them, never 


^fl*ÌiÌÌ^ÌÌEÌÌlì{slS3ili 


^-^i^liiiii 


prà.  Tergi  il  pianto,affrena  il  duolo  :  In  noi  fede  aver  puoi  solo.  Se  ogni  speme  in  te  svari  i.  Per  te  sola  ognun  è  qui. 
fear.  Spite  of  velvet, silk  and  feather,  We'll  the  castle  leave  together.  Welcome  to  the  field  and  tent, Daughter  of  the  regiment. 


Tonio. 


Sul. 

Mar. 

Sul. 

Mar. 
Sul. 


La  misera  forzata 

Si  vuol  da  noi  salvata  : 

Lei  sola  è  il  nostro  bene, 

Ne  trarla  ad  un  imene, 

Ch'  ella  non  può  compir. 

Bravo,  Tonio  ! 

Cosa  fiite  ? 

Vivandiera  al  reggimento 

L'  ha  veduta  e  1'  adorò. 

Oh  rossore  !  oh  avvilimento  ! 

{La  Marchesa  in  cor  gelò.) 


Tonio. 


Sul. 

Mar. 

Sul. 

Mar. 
Sul. 


From  certain  misery 

We  shall  save  her  : 

In  her  alone  is  our  happiness, 

And  she  shall  not  be  forced 

Into  a  detested  union.   . 

Bravo,  Tonio. 

What  are  you  doing  ? 

When  suttler  of  our  regiment, 

He  saw  her  and  adored  her. 

Oh,  shame  !  oh,  disgrace  ! 

(The  Marchioness  is  melting.) 


LA  FIGLIA  DEL  REGGIMENTO. 


ai 


QUANDO  IL  DESTINO— WSES  I  WAS  LEFT.    Aia.    Maria. 


Andante 


zz-±i 


iiSg 


Quan-do  il  de  -  sti  -  no     in 
When  I   was  left,      by 


mezzo  a  stra-gi  -  e  -  ra, 
all  a     -     handon^d. 


Nel         lor    se  -  no    fan  clul  -  la   mi  get- 
Where  in    the  death  -  sleep         thou    -    sands 


to,      Essi  han    rac  -  col    -   to 
lie,     With  these  brave  men      I 


la   mis  -  e  -  ria 
found         pro 


mi  -  a, 
tec  -  tion 


Ei  primi 
And  shall 


miei     cias-cun  gui- 
now     my  friends  de- 


Di-menti-carli  il  cor,    Se  non  e' 
I  found  pro  -  tection,  And  shaU  I 


Infatte  ella  è   gen-ti  -  le, 
Her  heart  is  really  no-ble, 


Ne  può  tener  sia  vi-le  ! 
Although  by  soldiers  nurs'd  ! 


si-sto     per  to-ro  a 


So  il  ve-ro  ella  con-fes-sa  se  aper  to  mostra  il  cor. 
Such  thought  should  surely  give  her  a  place  among  the  first. 


Coro.   A  vii  non  può  tenei-si, 

S'  ella  confessa  il  vero  ; 

S'  è  il  labbro  suo  sincero, 

Se  mostra  schietto  il  cor. 
Mar.    (Or  tutto  è  noto;  non  mi  rimane  che  segnar.) 

Tonio.  Che  dirà  mai  ì 
Maria.  Ne  morirò. 
Mar.    T'  arresta  ! 

Per  me  sì  gran  dolor — per  me  soltanto  ? 
Altra.  Cielo  !  che  intende  dir  ? 
Mar.    Vieni,  deh  vieni  ? 

Sacrificar  non  voglio  un  cor  si  bello. 

In  me  taccia  1'  orgoglio, 

E  quel  eh'  ella  sceglieva,  omante  onesto, 

Alfin  ottenga. 
Aitila.  E  qual  è  desso  ? 

Mar.  [Ponendo  Tonio  nelle  braccia.di  Maria.]  E  questo. 
Sul.     Bene  ? 
Maria.  Tonio  ! 

Tonio.  Maria  ! 

Sul.     Brava,  Signora  Zia  ! 

So  non  avessi  il  mustaccio 

Le  darei  proprio  un  militar  abraccio. 

Coro  di  Donile. 
Oh,  che  scandalo,  che  errore  ! 
Questo  Imen  fa  inorridir. 
Andiam,  partiam.  » 


Clio.     No  one  can  think  it  wrong. 
That  she  the  truth  confesses  : 
The  bashfuhiess  of  her  tongue 
Betokens  the  candor  of  her  heart. 

Mar.    (Now  everything  is  known, 

There  is  nothing  left  to  me  but  to  sign.) 

Tonio.  What  will  she  say  ? 

Maria.  It  will  be  the  death  of  me. 

Mar.    Stop  ! 

Sliall  I  cause  such  wretchedness — I  alone  ? 

The  others.  Heavens,  what  mean  you  ? 

Mar.    Come,  oh  come  ! 

I  will  not  sacrifice  such  a  noble  heart  ; 
Pride  is  silenced  within  me  ; 
And  the  one  she  has  chosen — 
Thou,  honest  lover,  shall  obtain  her. 

TTie  others.  And  which  is  he  ? 

Mar.  [Bringing  Tonio  to  Maria.\  TMs  one. 

Sul.      Good  ! 

Maria.  Tonio  ! 

Tonio.  Maria  ! 

Sul.     Bravo,  Signora  Aunt  ! 

Were  it  not  for  my  moustache, 
I  would  give  you  a  military  salale. 

Chorus  of  Ladies. 
What  a  scandal,  what  a  horror  ! 
This  marriage  shocks  us. 
Let  us  go  and  leave  them. 


IÌ3: 


y 


Tutti. 
Maria, 


LA  FIGLIA  DEL  REGGIMENTO. 


Salvezza  alla  Francia 
A  suoi  lieti  di 
Vivan  le  gioje 
Che  amor  nadri. 
Dolce  tesoro, 
Han  fin  le  pene  ; 
Ah  !  mal  sostiene 
La  gioia  il  cor. 
Quanto  io  t'  adoro 
Div  non  saprei. 
Per  me  tu  sei 
Un  ciel  d'amor. 


[A  Tonio. 


Ali.  Hurrah  for  France  ! 

For  all  their  living  days 
May  the  joys  of  love 
Attend  upon  them. 

Maria.  Dearest  treasure, 

My  griefs  are  ended  ; 

An,  scarcely  can  this  head 

Its  joy  sustain. 

How  much  I  love  thee 

I  cannot  tell  thee. 

For  me  thou  art 

A  heaven  of  love. 


[To  Tomo. 


THB     BND. 


'"^"^^m^^. 


•*«* 


''«<*%  V, 


COLLECTIONS  OF  PIANO-FORTE  MUSIC, 

Published  by  OLIVER  DITSON  &  CO,  277  Washington  St,  Boston. 


^ 


J 

^ 

p^ 

% 

,7) 

T 

Opera  of  Don  Giovanni.    By  Mozaet.    $2.00. 

"        "   Ernani.     By  Verdi.     $2.00. 

"   Lucrezia  Borgia.     By  Donizetti.     $2.00. 
"   Lucia  di  Lammermoor.     By  Donizetti.    $2.00. 
"   Sonnambula.     By  Bellini.    $2.00.  ^ 

"   Norma.     By  Bellini.     $2.00. 

«  Trovatore.    By  Vekdl    $2.00. 

"    Semiramide.     By  Rossinl     Arranged  by  Callcott.     $2.50. 

The  above,  with  the  exception  of  "  Semiramide,"  form  the  instrumental  portion  of  this  superior  edition  of  Operas. 
They  are  printed  and  bound  in  uniform  style,  from  new  type,  on  fine  paper,  and  in  convenient  size. 

Bach*S   48   Fugues.     The  well-tempered  Clavichord  ;  being  the  celebrated  48  Preludes 
and  Fugues.     By  J.  Sebastian  Bach.    In  two  volumes  ;  each  $3.00  ;  complete,  $5.00. 

Beethoven's  Sonatas,  for  the  Piano-forte.     From  the  latest  German  edition.     Printed 

from  Engraved  Plates.     In  two  volumes,  cloth,  embossed.     With  a  Portrait.     $10.00. 

These  matchless  productions  are  printed  from  engraved  plates,  and  the  work  is  pronounced  the  most  elegant 
specimen  of  music  typography  ever  executed.  They  have  all  the  witchery  and  harmony  of  the  great  composer,  and 
will  be  sought  after  by  all  who  love  the  highest  order  of  music. 

Mozart's  Sonatas,  for  the  Piano-forte,  complete.     Reprinted  from  the  German  subscrip- 
tion copy.     $5.00. 

Clementini'S  6  Sonatas.    Progressive  and  of  moderate  difficulty.    By  M.  Clementini. 
Each  number  25  cts.     Complete,  $1.00. 

Thalljerg'S  L'Art  dU  Chant.     L'Art  du  Chant,  applique  au  Piano.    By  S.  Thal- 

berg.     $3.00. 

Thalberg  has  in  this  work,  in  which  he  applies  the  art  of  singing  to  the  Piano-forte,  selected  transcriptions  from 
the  masterpieces  of  the  great  composers,  both  ancient  and  modem,  which  are  most  particularly  vocal  in  their 
effects,  and  adopted  a  simple  form,  in  order  that  they  may  be  within  the  comprehension  and  executive  ability  of 
young  pianists,  tolerably  advanced.  The  prominent  feature  of  these  transcriptions  is  the  singing  part,  the  melody, 
to  which  particular  attention  is  given. 

Mendelssohn's  Songs  without  Words.     (Lieder  ohne  Worte.)     Seven  books,  of 
six  numbers  each,  complete  in  one  volume.     $3.00. 

Parlor  Companion.     A  Collection  of  favorite  Songs,  Duets,  Waltzes,  Miches,  Polkas, 
Dances,  &c.,  arranged  for  the  Piano-forte.     $1.50. 

The  Home  Circle.     A  Collection    of  Marches,  Waltzes,  Polkas,  Scottisches,  Eedowas, 

Quadrilles,  Contra  Dances,  &c.,  arranged  for  the  Piapo-forte.     $2.00. 

"  A  charming  work,  containing  nearly  all  the  most  popular  Dance  Music  of  the  day,  and  forming  a  Repository 
of  Piano  Music  for  Home  Use,  which  in  the  sheet  form  costs  not  less  than  fifty  dollars." 

Jullien's  Music  for  the  Million.  *$i.oo. 
Jullien's  Farewell  Album.    50  cts. 


II 


u- 


Jftfrnp  Piusit  Jeprtraent. 


OLIYER   DITSON  &  COMPANY, 

277  Washington  Street,  Boston, 

Have,  in  addition  to  tjipir  extensive  stock  of  American  Sheet  Music  and  Music  Books, 
a  large  and  well-selected  assortment  of 

rOREIGST   MUSICAL   PFBLIGATIOSTS, 


principally  the  works  of  German  and  French 
this  branch  of  their  trade  complete  in  all 
mentioned, 

I. 

Compositions  for  the  Orchestra. 

From  Eight  Parts  upwards,  Sinfonies,  Overtures, 
Dances,  &c.,  in  Score  and  Parts. 

IL 

For  Stringed  Instruments. 

Compositions  for  three,  four,  five,  or  more  stringed 
instruments. 

in. 
For  tlie  Violin. 

Concertos,  Sonatas,  select  Operatic  Airs  and  In- 
structive Pieces,  with  Piano  Accompaniment; 
Studies  and  Simple  Tunes  for  the  Violin  alone  ; 
Duets  with  a  Second  Violin,  Alto,  or  Violon- 
cello, &c. 

IV. 

For  the  Flute. 

Fantasias,  Potpourris,  &c.,  with  Piano  Accompani- 
ments, Airs  as  Solos,  Duets  with  a  Second  Flute, 
Trios,  Quartets,  &c.,  with  various  instruments. 

V. 

Violoncello,  Clarionet,  Comet,  &c. 

With  Piano  Accompaniment. 
VI. 

For  the  Guitar. 

Solos,  Duets,  Trios,  &c.  ;  also,  with  Flute  or  Piano 
Accompaniment. 


authors,  and  have  taken  special  pains  to  render 
its  various  departments.      Of  these  may  be 

vn. 
For  the  Piano-Forte. 

For  one,  two,  and  three  Performers  on  one  Piano  ; 
for  two  and  four  Performers  on  two  Pianos  ; 
Trios,  Quartets,  and  Quintets,  with  stringed 
instruments,  &c. 

vin. 
For  the  Organ. 

All  the  best  Pieces  of  the  most  celebrated  Com- 
posers. 

IX. 

Scores. 

Piano  and  Voice,  and  Piano  Solo,  of  the  principal 
Italian,  French,  and  German  Operas  ;  also,  Or- 
.  chestral  Scores  of  Symphonies,  &c. 

Vocal  Scores  of  Novello's  Edition  of  Operas,  Over- 
tures, Cantatas,  Masses,  Choruses,  &c,,  when 
desired  in  preference  to  German  copies. 

X. 

Detached  Pieces. 

Concerted  and  otherwise,  from  all  the  popular 
Operas. 

XL 

Italian,  French,  German,  and  Spanish 
Songs. 


0.  D.  &  Co.  have  every  facility  at  their  command  for  procuring,  with,  despatch,  any  Music 
that  cannot  be  kept  constantly  ,on  hand,  such  as  large  Vocal  and  Instrumental  Scores,  Collec- 
tions of  Church  Music,  Theoretical  'P(%rks  in  Foreign  Languages  on  Music  and  kindred 
subjects,  German  Part  Songs,  for  Male  and  Mixed  Voices,  Orchestral  Accompaniments  to 
Oratorios,  Masses,  Cantatas,  S^c. 

Persons  at  a  distance,  ordering  Music  in  small  quantities,  can  receive  it  by  mail  without 
extra  expense. 


Ì^J^1ìi-T=2.^_ 


RICHARDSON'S 
NEW     PIANO     METHOD 

BY  NATHAN  RICHARDSON, 

Author  of  "  The  Modern  School," 

l3 

1J]¥PARAIìL.I:L<£D 

AS 

A  Method  of  Easy  Instruction 

VOR    THE 

Acquirement  of  a  Thorough  Knowledge 
OF  PIANO-FORTE  PLAYING! 

ADAPTED  TO  ALL  GRADES  OF  TUITION, 

From  the 

Rudimenti!  Studies  of  the  Youngest  Scholar 

To  the 

Studies  and  Exercises  of  Advanced  Pupils  ! 

and  Combines,  in  a  M-.isterly  Manner, 
All  the  Valuable  features  of  the  Authons  pre- 
vious "Work,  with  such  Additions,  Revisions, 
and  Improvements,  as  Experience  in  its  use 
has  suggested. 

Teachers  and  Schol.irs  can  order  tliis  work  with  perfect  reli- 
ability upon  its  meeting  their  fullest  expectations,  and  being, 
in  every  particular,  all  that  is  represented  to  be. 

Professors  of  Music,  and  other  Competent  Judges,  who  have 
seen  the  Manuscript  or  Proof-sheets,  unite  in  attesting  to  its 
Superior  Merits,  the  Perfect  Adaptation  of  its  Lessons,  to  the 
Comprehension  of  all,  and  to  its 

Many  New  and  Attractive  Features  ! 

As 

Of  the  Utmost  Importance  to  Pupils, 

who  would 
Learn    Quickly^  —    Understand    Correctly Ì 

And 

Become  Rapid  and  Finished  Players. 

RKHVRDSO^i'S  IVEAV  METHOD 

IS    ISSUED    IX   A   STYLE   COMMEVSURATE   WITH    ITS 

MARKED     SUPERIORITY 

Two  Editions  are  Published,  one  adopting 

American,  the  other  Foreign  Fingering, 

When  the  work  is  ordered,  if  no  preference  Is  de.signated,  the 

edition  with  American  fingering  will  be  sent. 

PRICE    $3.00. 

Published  by  Oliver  Ditson  &  Co.,  Boston. 


"THE  HOME  MELODIST,' 

CONTAINING.  NEAKLY 

One  Hundred  Favorite  Songs! 

A3    A 

HANDBOOK    OF    MUSICAL    GEMS, 

Exceedinely  Convenient  in  Size, 

Neat  and  Attractive  in  Style, 

At  a  Price  within  the  Means  of  All, 

AND 

universaIjIjY  commands   unquali- 
fied   PRAISE. 

CONTENTS  : 


Ah,  I  have  sighed.  Ah  !  che  la 
morte— Tenor.     (Troyatore.) 

Annie  Ijaurie. 

Annie  Lisle. 

Angel  of  light.    (La  Favorita.) 

Be  kind  to  the  loved  ones. 

Below,  above. 

Bime,  Bome,  Bell,  (Round.) 

Blanche  .\lpen. 

Bobbin  around. 

Bonnie  Dundee. 

Cheer  1    boys,  cheer. 

Child's  wish. 

Come  landlord.*,  fiU  your. 

Darling  Nelly  Gray. 

Dearest  spot  of  earth  to  me  is. 

Devotion. 

Do  they  mis.s  me  at  home. 

Erin  is  my  home. 

Ever  of  thee. 

Female  auctioneer. 

Floating  on  the  wind 

Gentle  Uallie. 

Gentle  Nettie  Moore. 

Golden  hiU. 

Grave  of  Bonapaite. 

Grandmother's  lesson. 

Hearts  and  homes. 

Here's  a  health  to  thee,  Tom 
Moore. 

Heart  bowed  down.  (Bohe- 
mian Girl.) 

Home  again. 

How  so  fair.     (Martha.) 

I  wandered  by  the  brookside. 

I  wandered  by  the  sea-beat 

I'd  offer  thee  this  hand  of  mine. 

I'll  pray  for  thee.    (Lucia.) 

Indian's  prayer.  _ 

I'm  leaving  thee  in  sorrow. 

Jamie's  on  the  stormy  sea. 

Jane  O'Malley. 

Johnny  Sands. 

Juanita. 


Kitty  Tyrrell. 

Last  greeting.    (Schubert.) 

Lilly  Dale. 

Little  white  cottage. 

Lone  starry  hours. 

Lulu  is  our  darling  pride. 

Mother's  vow. 

My  soul  is  dark. 

My  last  cigar. 

My  pretty  Jane. 

Near  the  broken  style. 

Nelly  Gray. 

Not  for  gold  or  precious  stones. 

Oh  1  whisper  what  thou  feelest. 

Our  flag  is  there. 

O  summer  night.     (Don  Pasq.) 

Our  own  sweet  thoughts. 

Over  the  summer  sea.    (Rigo- 
letto.) 

Prison  song.    (Trovatole.) 

Rest,  troubled  heart.    (Pestai.) 

Round,  for  three  voices. 

Scenes  that  are  brightest.   Ma- 
ri tana.) 

Shells  of  ocean 

Speak  gently. 

Strike  the  light  guitar. 

Switzer's  farewell. 

The  blind  girl. 

The  bloom  is  on  the  rye. 

The  serenade.    (Schubert.) 

Then  you'll  rememberme.  (Bo- 
hemian Girl.) 

Thou  hast  learned  to  love. 
Twas  off  the  blue  Canairies. 

Valley  of  Chamouni. 

Vilikins  and  his  Dinah. 

When  the  swallows  homeward. 

■\Vhere  are  the  friends  of  my. 

Widow  Machree. 

Willie's  on  the  dark  blue  sea. 

Work  1  work. 

Yes.  the  die  is  cast.    (Pestai.) 

Young  recruit. 


For  Sale  by  the  Publishers,  an. I  by  all  Music  Dealers  and  Book- 
sellers throughout  the.  United  States  and  Canada. 
Price,  Handsomely  Bound  in  Muslin,  Embossed, 
TWENTY-FIVE    CENTS. 
Publi.=hed  by  Oliver  Ditson  &  Co.,  Boston. 


1.^'^ 


^/^ 


i)  'Nv5> 


f 


fe? 


Wf^ 


'^'^ 


E 


■^'^411 


1C<0  ?(5v]1  .^'vi^^U-^'^l  V-^Nii^G-^ Tncj©^  7-^^xQ.y^  :^~^\Q,^'^^Qy' *  (^^-^i^k^^f^^^^Q^^' f^Mi'ii^t"'  ^^TNSG-^ 


X{.M)  '^  ^^<1»5^  f 


WHOLESALE    AND     RETAIL, 

277  WASHINGTON  STREET,  BOSTON. 


5^ai5Niii.ii^a(P^ 


I  --Q\f^^  '«l^^/af^-^.  lv2^^-v?V.  lg^3\5\-  iiS'-cKoV. 


/ 


RETURN       MUSIC  LIBRARY 

TOm^       240  Morrison  Hall                       642-2623 

'^^'^Sìtn 

2 

3 

;  4 

5 

6 

ALL  BOOKS  MAY  BE  RECALLED  AFTER  7  DAYS 

DUE   AS  STAMPED  BELOW 

AUG  26  1985 

MAR  15  1998 

i 

'>- 

^'  -    .;  ■ 

FORM  NO   DD21    12m   6'76         UNIVERSITY  OF  CALIFORNIA,  BERKELEY  1 

BERKELEY,  CA  94720                 1 

ML50.D6.F5 


C037528253 

u.c.  BERKELEY  LIBRARIES 


CD37S2fiES3 


DATE  DUE 


Music  Library 

University  of  California  at 
Berkeley 


iiiiiiiiiiii 


